Don’t Take Our Word For It
"Couldn't help but exclaim '1B, that's me!' Not having any specific system and certainly not the depth of training she has, I was surprised to find that position 1B exactly matches how I play in public despite being taller than average. This was my first glimpse of Piano-Yoga® and enough to make me believe GéNIA knows what she's talking about."
Darius Brubeck, American jazz keyboardist and educator
"Found it very inspiring . . came away full of new ideas"
". . . the posture and development of the various parts of the fingers will greatly improve technique and tone."
Shiona Grant, Piano Teacher
"GéNIA is one of the most exciting, dynamic and daring pianists I've met in recent years. Her approach to the development of piano technique and personal development are both highly effective and original, combining the Russian tradition with a modern musical outlook. I recommend the Piano-Yoga® course most highly."
Douglas Finch, Professor of Piano and Composition, Trinity College of Music, London
"Piano-Yoga® is a unique method that really transforms fingers and hands. If followed correctly hands feel much bigger, and people can play a much wider repertoire. Once it is available I would recommend that all my students use it."
Richard Harris, piano teacher, composer, arranger and author
"Piano-Yoga® helped me release tension, and simply concentrate on playing the piano. GéNIA's approach to tuition makes practice a pleasure."
Jamie Telford, composer
"My ten year-old son had been studying the piano for two years before he started a weekly lesson with GéNIA. After only six weeks his performance was transformed. A few weeks later he gave a short recital at his school and received an unprecedented standing ovation from staff and pupils."
Max Gammon, private medical consultant
"When using GéNIA's Piano-Yoga® the piano, musical score, and I become one entity. A oneness that is greatly challenging to find elsewhere in our everyday lives...it provides me with a moment's peace in an otherwise rapidly moving modern world."
Zuzia Wieczorek, BA undergraduate,
School of Oriental and African Studies, London
"My students are performing soon and I would love to know a list of the "good and bad" food choices for performance. Also please let me know when your book comes out. I loved your presentation. Everything made so much sense. Thanks again."
Denise Apodaca, piano teacher, USA
"In supporting and participating in GéNIA's masterclasses I can vouchsafe for her passion and commitment to piano teaching and performance at the highest level. GéNIA is an outstanding and versatile musician with a warm engaging personality. As a coach, her sense of humour and enthusiasm encourages participation and response inspiring confidence at whatever stage of playing. Allowing students to feel relaxed is part of her magic along with focus and imaginative interpretation; bringing out the best in them with consummate patience and skill."
Simon Markson, Managing Director of Markson Pianos
"I have been a visiting student at the Guildhall School of Music for many years and one of my piano teachers after the Guildhall was a pupil of Vlado Perlmuter; more recently I have been studying with some outstanding cello teachers. However GéNIA is absolutely the finest teacher of any musical instrument I have encountered in 60 years. GéNIA makes absolutely clear the hierarchical relationship between mental processes, bodily action and artistic effect. Her strong interest in Yoga over recent years has added a further dimension to her ability to inspire pupils through a deeper understanding of how sound is controlled, freely and without pain or strain, at the keyboard."
Michael Bird, retired publisher
'Piano-Yoga® makes best use of your specific anatomy, strength and flexibility to help your playing’
'The first entirely new piano technique to emerge in over 50 years.'
'PY is something radical.'
'An ideal way to combine an interest in Yoga with learning the piano.'
Yoga & Health Magazine
Don’t skip the ‘Seating Position’ exercise. Having a good seating position may seem basic after years of piano playing; this particular exercise made an instant difference to my playing. I can now ‘see’ the entire keyboard, which has been so helpful for my playing Rachmaninoff.
Genia’s holistic approach to the keyboard and attention to every detail are what set her apart from other piano teachers. She evaluates every student from head to toe and quickly identifies deficits such as muscle weakness, postural disfunction, or lack of flexibility hindering their ability to play well. In turn, she recommends specific repertoire, technical exercises and body awareness exercises to build strength, improve hand function, increase finger velocity, and eliminate strain. As a result, students can expand their capacity to take on increasingly more difficult repertoire and dramatically transform their piano playing.