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Yi Christine C In HomeHome In StudioStudio
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Instruments: Piano, Voice
Styles: Classical, Jazz, Pop, R&b, Gospel, Musical Theater, Opera

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Yi Christine C In Home In Studio
Instruments: Piano, Voice
Styles: Classical, Jazz, Pop, R&b, Gospel, Musical Theater, Opera

Where I Teach:
In Your Home My Studio Online
Ages Taught: 10-80
Levels Taught:

EMAIL US OR CALL 877-687-4524

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ABOUT
Degrees / Training / Special Info:

Kindergarten Private Class Instructor Manchester Academy in Los Angeles 2013-Present Organizes classes for maximum student benefit in time allotted  Practice and rehearse songs and musical acts Musical Youth Group Manchester Academy in Los Angeles 2014 The Wizard of Oz Private RH studio Los Angeles, CA 2003-Present Help students for musicianship skills and Theory (conducting pattern with singing) Coach for singing exercises to develop voice  Coach for playing exercises to develop piano Youth Choir Director, Church of Jesus Christ of Love, Fullerton, CA 2010-1012 Conducted select Choir elementary choir Directed vocal portion of offering concert Organized program

Awards:

BM, Norhridge University, Vocal Performance

Sunny Hills High School

SH Art School

Overview:

I have learned piano at the age of six and voice as well. Studied at professional music school at the age of eleven.I graduated with honors and holds a Bachelor of Music degree in Voice Performance and Piano from State Music University. 

I have a few openings for new voice and/or piano students. 

Voice/ whether you are looking to sing opera, musical theater, musicianship(theory,rhythm dictation...) or just want to improve your voice, I can provide you with the skills necessary to sing healthfully, correctly, and beautifully. I am educated in vocal pedagogy and teach the Richard Miller method of vocal health. I teach all ages and have experience teaching children of any age. 

I do encorage my voice and piano students Only if they express interest. What does happen often is that as a student absorbs the approach, it affects their life to some extent they naturally start slowing down and appreciating details in their lives too; they relax and become more aware of what’s around them because their minds have been trained somewhat through practicing music that way. Then they may or may not gravitate toward learning to meditate. But I never push anyone in that direction. If they do express interest in meditation during their piano lessons, the focus is on how meditation can be helpful to them in practice and performance.

EXPERIENCE

I  believe the ultimate goal of teaching piano lessons should be to make the student independent of the teacher. This requires years of training, while the student learns how to listen to his or her playing and acquires a musical technique and the requisite skills.Focus on developing musical skills is essential to good piano teaching. Traditional methods immediately teach students to learn to read music, while other methods (such as Suzuki and piano-by-chords approaches) ignore music notation altogether, citing other advantages.

METHODS USED

for VOICE Students:

 

I usually associate singing the song with some kind of activity, usually passing a bouncy ball to the beat, or throwing it back and forth. From there, we progress to tapping the beat or the rhythm while singing. Then we’ll combine the two: student claps the rhythm while I tap the beat, and vice versa. I want my students to be able to clearly distinguish these two elements, and to be able to feel and maintain a steady beat which will set them up with a strong foundation for playing more advanced music. I’ve had mixed success with students singing in tune. Some have no problems. With others, I’m working hard with them at recognising and singing high and low notes as well as pitch matching. From there, I teach them to play each song on the piano through imitation. Through spaced repetition and regular review, I expect them to play these pieces from memory. What I’ve observed is that there seems to be a spectrum: some students have a far easier time of memorising the songs and playing them at the piano. Others have become stuck on the same pieces even after a period of a few weeks, so I move on to other songs, games and fall back to the method book to keep their momentum going and so they don’t get sick of trying to do the same songs every week.

 

for PIANO Students:

 

From the first lesson I teach the student to find the C and the F, which are the keys to the left of the group of two and three black keys respectively. I quiz them by asking them to identify the note that I am playing. It takes only a minute. When each one is secure, I add more on, and I do this over the course of several weeks. The G and A, in between the three black keys. Then the D, in between the two black keys. Finally, the E and B, to the right of the group of two and three black keys respectively. I spend a couple of minutes every week quizzing them on their keyboard note identification until this has become a solid foundation for them. For additional practise, I have them colour in worksheets in addition to the quizzing. We also play the keyboard race game which is always a hit with students. A number of my new students in this age category are transfer students who have been learning for some time and are reading music notation in their method books, despite having significant trouble identifying notes on the keyboard quickly. At times, I see students counting up from C to find a G or an A, so will take the time to reinforce the information that G and A is in between the three black keys, and practise finding them quickly. I want these keyboard geography skills well and truly secure in their minds long before starting to associate them with musical notation.

LESSON STYLE

for VOICE Students:

 

I usually associate singing the song with some kind of activity, usually passing a bouncy ball to the beat, or throwing it back and forth. From there, we progress to tapping the beat or the rhythm while singing. Then we’ll combine the two: student claps the rhythm while I tap the beat, and vice versa. I want my students to be able to clearly distinguish these two elements, and to be able to feel and maintain a steady beat which will set them up with a strong foundation for playing more advanced music. I’ve had mixed success with students singing in tune. Some have no problems. With others, I’m working hard with them at recognising and singing high and low notes as well as pitch matching. From there, I teach them to play each song on the piano through imitation. Through spaced repetition and regular review, I expect them to play these pieces from memory. What I’ve observed is that there seems to be a spectrum: some students have a far easier time of memorising the songs and playing them at the piano. Others have become stuck on the same pieces even after a period of a few weeks, so I move on to other songs, games and fall back to the method book to keep their momentum going and so they don’t get sick of trying to do the same songs every week.

 

for PIANO Students:

 

From the first lesson I teach the student to find the C and the F, which are the keys to the left of the group of two and three black keys respectively. I quiz them by asking them to identify the note that I am playing. It takes only a minute. When each one is secure, I add more on, and I do this over the course of several weeks. The G and A, in between the three black keys. Then the D, in between the two black keys. Finally, the E and B, to the right of the group of two and three black keys respectively. I spend a couple of minutes every week quizzing them on their keyboard note identification until this has become a solid foundation for them. For additional practise, I have them colour in worksheets in addition to the quizzing. We also play the keyboard race game which is always a hit with students. A number of my new students in this age category are transfer students who have been learning for some time and are reading music notation in their method books, despite having significant trouble identifying notes on the keyboard quickly. At times, I see students counting up from C to find a G or an A, so will take the time to reinforce the information that G and A is in between the three black keys, and practise finding them quickly. I want these keyboard geography skills well and truly secure in their minds long before starting to associate them with musical notation.

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