Category: News


Holistic Day for Pianists with Melanie Spanswick & GéNIA in London on Sunday 16 July 2017

May 18th, 2017 — 4:02pm

Following numerous requests, we are delighted to announce Holistic Day for Pianists, which the founder of Piano-Yoga® GéNIA will be bringing to you together with the pianist, educator, composer, author and judicator Melanie Spanswick.

Melanie and GéNIA met in 2012, and immediately recognised their shared beliefs; helping piano students to realise their true potential by offering holistic technical and musical guidance, and thereby encouraging a different approach to piano playing. Subsequent workshops and projects have followed, and now we are delighted to present a complete holistic piano day which will explore several important elements; incorporating the physical flexibility and relaxation techniques employed in Piano-Yoga® with the mental mindfulness required in memorisation and sight-reading.

Holistic Day for Pianists is an exciting all-day event for amateur pianists, music students, piano teachers and young musicians from the age of 13. For the schedule of the day, further information and to find out how to book please visit our website or click on the poster below.

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Sight-reading: Eight Tips – a guest blog by Melanie Spanswick

April 27th, 2017 — 10:39am
Melanie Spanswick, pianist, composer, educator and blogger

Melanie Spanswick, pianist, composer, educator and blogger

‘It gives me a great pleasure to introduce a wonderful educator, pianist, pedagogue, blogger, author and international judicator, Melanie Spanswick.  

Melanie kindly offered to write a blog especially for Piano-Yoga readers, covering one of her ‘specialities’: the subject of sight reading.

 Melanie has also just published the first series of her new book ‘Play it again: PIANO’ with Schott Music. Here, she offers some useful tips for pianists who would like to improve their sight-reading.’ GéNIA

Sight-reading is a subject feared by many a pianist. Reading at speed is a real skill, and one to be prized; if you can read quickly, learning repertoire will be a much swifter and more pleasurable experience. Contrary to the often misguided belief that it’s a skill you ‘either can or can’t do’, I’ve found if students are taught and guided carefully in this respect, they can and do make substantial progress. The key is a slow approach with plenty of practice material, and time to devote to this cause.

I hope the following tips will prove interesting and useful for those who feel they need a practice method to which they can apply to every session.

  1. Sight-reading is all about the preparation. Begin by allowing at least two to three minutes of preparation time, looking at the score, and then separating the various tasks (as described below).
  2. On first glance, check the score for the key signature, noting the major and relative minor of that written; get into the habit of ‘spotting the key’ of every piece you read. Note the time signature (particularly if it changes during the piece), obvious note patterns such as scales, arpeggios, chords, octaves and the like (also aim to decipher fingerings for such figurations before you play).
  3. Separate the rhythm from the notes (this is very important). Focus on the general pulse; always start with very slow speeds when learning to read (perhaps a third or even a quarter of the intended tempo). Then tap the rhythm of the treble clef in the right hand, and the rhythm of the bass clef, with the left hand (at the same time), keeping in mind the slow pulse you have already set.
  4. Now play through the left hand alone (without adhering to any pulse), locating note patterns, hand positions changes and fingering (and remembering the key!). Then repeat this with the right hand. If you’re preparing for an exam, you will probably have just enough time to run through each hand separately in the 20 or 30 seconds allocated inspection time beforehand. However, irrespective of exam sight-reading tests, allow plenty of time for this vital part of the preparation process.
  5. Decide how you will keep time during the exercise. A metronome may be helpful (for ‘sitting’ on the pulse), but counting out loud along to your playing is also a reliable method (providing your count is rhythmical!). Try to sub-divide the beat (i.e. if crotchets are the main beat, count in quavers, but if quavers are the main beat, then count in semiquavers etc.). Counting a bar’s rest at the beginning can be useful too (for setting a firm tempo).
  6. Once you have spent time on the preparation stage, and are quite sure of the notes, rhythm, fingering and hand position changes, play your chosen exercise hands together, very slowly, reading ahead all the time, whilst aiming to play through your mistakes. It’s tempting to stop and correct errors, but by playing slowly, you will eventually be able to resist this urge.
  7. When reading, keep in mind the overall rhythmic structure and play the notes to the pulse as opposed to the other way around. This way, you can always keep going, missing out notes or chords if you can’t find them in the time (if this happens frequently, probably a slower tempo is required).
  8. Eventually, when you are comfortable playing sight-reading exercises slowly, gradually add speed.

This preparation will become quicker over time, as will your reading. Ensure you have a large collection of sight-reading books and materials; one or two books won’t be sufficient, as with regular practice, you’ll move through many practice examples as well as easier piano repertoire. Try to start with very simple exercises, moving to more challenging examples as and when you’re ready. If you can spend 10 – 15 minutes sight-reading at every practice session, you’ll be amazed at what can be achieved. Good luck!

Melanie Spanswick

www.melaniespanswick.com

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Congratulations to Lila Erol, a pupil of GéNIA, for winning The Junior School of the Year award!

March 28th, 2017 — 3:26pm

Lila Erol

We were delighted to find out that GéNIA’s student, Lila Erol, was awarded The Junior School of the Year 2017 award from Francis Holland School, Sloane Square.

The award was given as a result of the Funny Davies competition, with over 130 solo and ensemble performances. Amongst the performances were traditional Greek song, a Russian march, native American music, a French lullaby, Italian opera and Spanish dances. The girls also covered just about every musical genre – ancient plainsong, a Baroque concerto, Romantic piano music, film music, Jazz and Blues, musical theatre and even had a rock band!

Funny Davies Award

Funny Davies Award

The Junior School Musician of the Year 2017 shield was awarded to Lila Erol, in Year 6, who moved her audience with her mature, sensitive and and technically assured rendition of Frédéric Chopin’s ‘Prelude in E minor’ op.28, no. 4.

We are delighted here at Piano-Yoga®, and look forward to more performances from this talented young lady!

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Music Gurus website publish GéNIA’s blog ‘Are Russian piano teachers really that scary?’

February 12th, 2017 — 3:50pm

15e243b2-b4a3-49ee-b800-e7a522ec87b9This month an educational website, Music Gurus, published GéNIA’s blog. Let us know if you agree!

Is she really strict?”” “How scary is she!?” ““Is she nice!?!”
Recently, I had a number of my friends reporting these reactions when they mentioned my name to their peers.
When this happened the first time, I thought that particular person probably just had a bad experience with a Russian piano teacher, and I didn’’t give it a second thought.
However, when one of my student’s friends was shocked upon meeting me (I think he was expecting to see a big 60-year-old babushka), that got me thinking…”

Music Gurus is a new exciting company dedicated to promoting music education to the highest level. The company provides an opportunity for people to learn directly from professional musicians, many of them being remarkable artists. Amongst various videos of masterclasses and specifically designed courses on the website, one can find footage with Maxim Vengerov, Joanna MacGregor, Andras Schiff, Darius Brubeck, to name a few. The website is a great source of inspiration and education that I highly recommend. You can visit the site here.

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Piano-Yoga® Blog Selected as one of the Top 40 Piano Blogs on the Web

January 18th, 2017 — 3:22pm

Piano BlogOur Piano-Yoga® blog has been selected by Feed Spot as one of the top 40 piano blogs on the Web.

The team are very pleased with the award and we will continue to strive to offer the best piano playing advice and information combined with our unique holistic approach. You can read more about the award by clicking the link here.

 

 

 

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How to Find the Best Piano Teacher for You

December 16th, 2016 — 11:39am

Piano-Yoga Teacher

In finding the best piano teacher, there are many ingredients that must be right. Sometimes the best piano teacher for one person could be inappropriate for another. Therefore, when choosing the right teacher for yourself, child or even for someone else, it is important to use certain criteria which work over and above professional qualifications and/or a friendly personality.

Below is a simple “TO DO” list I recommend anyone to go through when looking for the piano teacher:

1) Qualifications
2) Years of teaching experience
3) Main area of expertise
4) Level of Professionalism
5) Personal Compatibility
6) The extent of piano teaching
7) Location
8) Online Piano Tuition

Here is a little more information about each of those points:

Qualification

It is good to have the teacher who studied at one of the major Music Schools and Colleges. If you live in London (UK), it could be The Royal Academy of Music, Royal College of Music, Guildhall School of Music and Drama or Trinity College of Music to name just a few. Why? Because this will guarantee that the teachers who studied at these establishments have been taught well and therefore will teach to high professional standard and will be unlikely to pass on any wrong or ‘unhealthy’ methods to their students. You can indentify which institution someone has graduated from by simply looking at the letters following their name, and later, checking them online. Also, if you can access the teacher’s biography, their degrees and diplomas may be explained further.

Amongst the most established UK qualifications, here are a few examples of Music Degrees:
BMus, MMus, MPerf, MComp, MA, MPhil, PhD, MMP, DMus and Diplomas LRAM, PGDip, AdvDip, ARCM, DipRCM, ADCM , Artist Diploma, , LGSM, AGSM, PGDip, Dip GSM., ATCL, LTCL, FTCL, PGA, PGD . I have used the examples from the main educational bodies – Royal Academy of Music (www.ram.ac.uk). Royal College of Music (www.rcm.ac.uk), Guildhall School of Music and Drama ( www.gsmd.ac.uk) and Trinity Laban Conservatoire of Music and Dance ( www.trinitylaban.ac.uk)

Years of teaching experience

This can also be quite beneficial. Although there are a lot of young teachers who can be very good and effective, the benefit of working with a more experienced teacher is that, once a student starts facing difficulties (and believe me, this moment always occurs at some stage along the tuition process), the experienced teacher would be likely to guide a pupil through these difficulties more quickly, whereas the younger teacher may not be able to help so immediately, or at all, whilst stumbling through the blocks. It is also good to get any feedback from past and current students of the teacher in question and, if possible, find out about the teacher’s achievement list (for example how many students won competitions, got high grades, participated in all sorts of public performance, etc.).

Main area of expertise

Some teachers are strictly classical, some do mainly jazz, some do a few instruments. The last group would be the ones I would approach with caution, to make sure that their level of expertise is high enough to teach each instrument. It is also quite good to see if the teacher can play a little bit for you, as then you may know straight away if you would like to learn from this person.

Level of Professionalism

This is a quality that I personally value very much in any area of expertise – it is important that a teacher starts and finishes the lesson on time, clearly explains the fee structure and terms & conditions of the lesson. It is important that a teacher informs a student what needs to be brought to the lesson and what role they expect the parents to play in the students’ education.

Personal Compatibility

This is a very important quality for a teacher to have. It goes beyond just being friendly. The energy and the overall approach of the teacher should match the energy of each student. For example, if the student is in a receptive mode, then the teacher should provide a lot of knowledge, so to be in a ‘giving mode’, but if the student is in a creative and active mood, then the teacher should provide this knowledge through inspiration, by encouraging the student to find an answer for themselves. Experienced teachers should be able to match the energy and state of a student’s mind on each separate occasion. It is very important that both a teacher and a student have a harmonious and balanced energy exchange during the lesson.

The extent of piano teaching

This area often gets overlooked, as all we want at the beginning is piano lessons. However, with the passage of time, some students want more then just an hour of piano lessons per week. They would like to know about performance opportunities, the best competitions, thorough help in choosing piano repertoire, information on the best performers, concerts, etc. If you know in advance that you might require some of the above information, it would be a good idea to ask the teacher if they would be prepared to give it to you. Some of them would be happy, whilst some would not, sometimes purely because of the lack of time and/ or knowledge.

Location

Of course, if you want to learn to play piano, you should try to find the teacher who best fits all the points outlined above, and the best might not be in the area close to you. However, it is important to consider the location as, particularly, if you live in a big city where travelling takes an hour or more each way, taking your child after school on a weekly basis may tire them out, and therefore this is important to consider. In general, from my personal experience, students tend to have more regular lessons with teachers who are close to them as compared to less regular, often prolonged classes with the teachers who live far away. For more advanced, adult players this may not be a big problem, but if you are a beginner, you may want to have more regular lessons on a weekly basis (and this is what I would recommend).

Online Piano Tuition

During the last 5 years, the number of students I teach via Skype has grown. With faster and better internet connection, this method has became possible. I find the benefits of teaching via Skype (apart from obviously the lack of travel) include the fact that lessons become more precise and concentrated, where the camera lets you direct its focus to a specific angle of the hand and/or finger. The drawback is the quality of sound which, of course, will never be as good as the live sound; however it is still pretty decent. For those of my students who live far away from London, Skype piano lessons provide a great solution which should not be overlooked when choosing the best method of studying to fit in with your lifestyle.

To help you further I devised a simple questioner which I give out in my GéNIA MUSIC School and Piano-Yoga® School, to students who enquire about lessons. This helps them and us to choose them the best teacher and the best approach to the piano tuition:

1) List Your Name
2) List Your Age
3) Describe your current piano playing level
4) What is your piano aspiration (perform in public, do grades, learn to memorise, etc)
5) How much time do you have to practice (realistically)
6) How often can you come to your piano lessons (one a week, twice a week, once at fortnight, come when I want to) or would you prefer to do a lessons via Skype? Or would you prefer to do both?
7) What pieces are you playing at the moment?
8) What pieces you would like to play?
9) What pieces you listen to?
10) What type of memory do you have (photographic, symbolic, literary, aural)?
11) How do you learn best (aurally, motorically (by repeating after teacher) visually, etc)?

When you start looking for your teacher, it would be a good idea to finalise for yourself what you are looking for, as this would help you to focus on finding the best piano teacher!

Good luck with your search!

GéNIA

For more information on how to improve your piano playing visit our Piano-Yoga® website www.piano-yoga.com and Piano-Yoga® Studio at Schott Music, 48 Great Marlborough Street, London W1F 7BB, where GéNIA teaches regularly.

Russian Virtuoso Pianist and Compser GéNIA is a founder of Piano-Yoga® Method. She runs Piano-Yoga® Studio located in Central London: www.piano-yoga.com

 

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Pupil of Piano-Yoga® wins Trophy from Woodely Festival as the most promising performer!

April 28th, 2016 — 2:33pm

WoodelyFestTropheyCongratulations to Catherine Lieben, a student of Piano-Yoga® and a pupil of GéNIA, for winning the Wendy Wilson Trophy from the Woodely Festival of Music and Arts 2016. The trophy is awarded to the most promising performer in the adult class. Catherine was performing Sergei Rachmaninoff’s Prelude in B minor, Op.32 No. 10.

Catherine has been studying with GéNIA for over five years and regularly takes part in many music festivals across the UK.

For more information on the Festival please see their website www.woodelyfestival.org.uk

The next Piano-Yoga® students’ concert will take place on the 23d of July 2016 at Schott Music, 48 Great Marlborough Street, London W1F 7BB at 6:30pm. At the concert there will be an opportunity to listen to many students studying the Piano-Yoga®method, including Catherine Lieben, and meet them after the concert.

We are looking forward to seeing you there!

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Piano-Yoga® founder GéNIA’s Show at St James Theatre London Just Announced

February 17th, 2016 — 2:27pm

GéNIA’s latest project, the single released especially for Valentine’s Day, features a classical piano arrangement of  ‘Someone Like You’ by Adele and takes it to a global classical audience.

GéNIA will hosting a show at St James Theatre London premiering ‘Someone Like You’ and play many of her own works intertwined with well-known classics.

Tickets available shortly

“…one to watch…”

The Observer, UK

 

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Thank you from GéNIA to all Piano-Yoga® Club members!

January 13th, 2016 — 1:18pm

Piano-Yoga Club with GéNIAThe idea of setting up the Piano-Yoga® Club came to fruition last year, after I received numerous emails and requests from our lovely supporters. Now, looking back, after having done five Piano-Yoga® Clubs, I must admit that it has been not only very productive, but also a very moving experience for me. By now we have some long-standing loyal supporters, whom I call ‘Piano-Yoga® Veterans’, and, at the same time, we continuously have new guests, often those who are visiting London and come just for one event.

I have been absolutely overwhelmed with the feedback that I have received, and this is what gives me growing confidence in the usefulness of Piano-Yoga®. Whether you have stage fright issues, problems with the technique, pains in your body that relate to or arise from practising, Piano-Yoga® has something to offer everyone. Bringing yoga into piano playing, from the anatomical and psychological point of view, dramatically changes one’s attitude to piano playing and therefore to playing itself.

Last time we had guests from the Unites States and also from the other cities in the UK. I now have been asked to organise similar events online, as for many of you it is not easy to come to London. I promise to work on that, and we will try to do something as soon as possible.

Meanwhile here is some of the feedback that I received:

‘An excellent class taught by an excellent teacher! The class is one of a kind in London!’ Salman   

Piano-Yoga Club‘Illuminating!’ Meredith 

‘Very useful! Practising revamped:-) Maybe more events outside of London?’ Liz

‘Very helpful indeed, especially structuring one’s practice time. Plus I feel more energised and more alert after doing your recommended exercises!’ Deborah

‘Another very illuminating Piano-Yoga® Club – I really enjoyed it and looking forward to applying some of the techniques!’ S.P.C.

‘Always very insightful and helpful!’ Olivia

Thank you very much again, and I wish you all wonderful and fruitful 2016!

Looking forward to seeing you at our Piano-Yoga® Club events!

With love,

GéNIA

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Very Successful Piano Concert of Piano-Yoga® Students!

December 14th, 2015 — 10:19pm

SubstandardFullSizeRenderWe had a fantastic concert of GéNIA’s students at Piano-Yoga® School (Concert No 22!)  last weekend. Students ranged from age 7 to over 60 and the programme included works by JS. Bach, F. Chopin, F. Poulenc, M. Ponce, A. Ginastera, C. Debussy (Petite Suite for 4 Hands) and S Rachmaninoff (Suite No.2 for Two Pianos).

GéNIA also took part and Premiered her composition for solo piano ‘Midnight Dream’.

As usual the party at Schott Music Hall continued with the afterparty at one of the beautiful French restaurants in Soho. The students and their guests had a great time!

FullSizeRender

Regular bi-annual concerts became a great tradition at Piano-Yoga® School, as GéNIA believes that through public performance one can really learn the piece. ‘You usually need to perform the piece up to five times in public, before you can confidently say that you have learned it.’ says GéNIA.

 

 

FullSizeRender-2Now we are looking forward to a fresh start in 2016 and the next concert scheduled for June!

The concerts provide an excellent platform not only for learning the pieces, but also for practising to perform before important exams and other performances. Our guests usually come from all walks of life ( sometimes literally people who are wandering in the shop at that moment) and it gives students a fantastic incentive and feeling of achievement.

Piano-Yoga School Students ConcertIf you would like to become a student at Piano-Yoga®, you are welcome to visit our concerts or simply send us an email to arrange a consolation for you.

 

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