"After 21 years of teaching, I've collated well-tested strategies for crush your learning of anything, including your instrument."
--Ms Lin Shumei

1. Spaced Learning:
Concept:
This involves distributing practice sessions over time rather than cramming all information into one session. This approach enhances long-term retention by allowing the brain to consolidate and reinforce the learned material during intervals. Applying spaced learning to practice helps learners retain musical concepts, fingerings, and techniques more effectively.
How to apply:
1. For most students, practise daily for the best results. Even 10 minutes counts.
2. For those seeking more rigorous practice for auditions, exams or performances, one could practise in the morning and do similar practice at night.

2. Testing and Retrieval Practice:
Concept:
Testing not only assesses one's current level of proficiency but also enhances memory retrieval, strengthening the neural connections associated with specific musical elements. Incorporating periodic self-assessment and quizzes into practice sessions encourages active recall and reinforces learning.
How to apply:
1. Do a regular recording (e.g. once a month) of the piece and review the level of performance.
2. This also includes mock runs of exam pieces in exam style before the actual exam.

3. Deliberate Practice:
Concept:
This was popularized by psychologist Anders Ericsson and he emphasizes purposeful and focused practice aimed at addressing specific weaknesses. Applying deliberate practice to piano learning involves identifying challenging aspects of a piece, breaking them down, and dedicating concentrated effort to improve those specific elements. This method ensures efficient and targeted skill development.
How to apply:
1. For targeted weak bars or beat, work on it until rectified. I further recommend the golden number 3. So once one is able to play correctly, furtherr play 3 times correctly in a row. If one break down on 1st or 2nd time, reset to 0 again. And try again. This goal usually makes the correction focused and effective.

4. Pomodoro Technique:
Concept:
This involves breaking work into intervals (typically 25 minutes) separated by short breaks. Applying this technique to practice helps maintain focus and prevent burnout. Structuring practice sessions in this manner enhances concentration, productivity, and overall engagement with the material.
How to apply:
1. Apply this 25 - 30m-break, repeat till end.
2. Synergise with "Spaced learning" and "Deliberate learning" and see your retention soar!

5. Asking Questions:
Active engagement through questioning is crucial for deepening understanding. Learners should not hesitate to ask questions about musical theory, technique, or interpretation. Seeking clarification from instructors or utilizing online resources fosters a deeper connection with the material and accelerates the learning process.

6. Deep Learning:
Concept:
Deep learning in piano goes beyond surface-level understanding. It involves exploring the historical context of musical compositions, understanding the theory behind different genres, and connecting emotionally with the music. Developing a profound connection with the material facilitates more expressive and nuanced performances.
How to apply:
1. Read up about the composer and background of the work you are learning.
2. Can you spot any theory and aural skills you have learnt in your pieces. Otherwise, otherwise go back to "Ask your instructor"
3. Is your piece associated directly or indirectly with other art forms: movies, dance, Art etc..

7. Recall with association
Concept:
Retrieval of information is facilitated by linking it with related concepts, cues, or contextual clues. This technique leverages the brain's ability to connect information through associations, making it easier to retrieve and remember specific details. For example, associating a new vocabulary word with a familiar word or creating mnemonic devices are effective ways to enhance recall through association.
How to apply:
1. Using Mnemonics
E.g. Reading Lines for Treble Clef
Every Good Bear Doesn't Fight
​
2. Using familiar association
E.g. M.D (Mano destra) is known to majority people as "Managing Director". As most people are right handed, M.D = Right Hand comes naturally. For those who are left handed, one can add a "Not" to this memory. So M.D= Right Hand, NOT.


Conclusion:
In conclusion, effective learning is a multifaceted process that benefits from a combination of strategies. 

Do you find this helpful? 

Do share if you have more hacks that is not mentioned above!

To start learning a music instrument
“Your passion is waiting for your courage to catch up.” – Isabelle Lafleche

“Doubt kills more dreams than failure ever will.” – Suzy Kassem

"Twenty years from now you’ll be more disappointed by the things you did not do than the ones you did.” – Mark Twain

“If we wait until we’re ready, we’ll be waiting for the rest of our lives.” – Lemony Snicket

"The trouble is, you think you have time.” –Buddha

“Do something today that your future self will thank you for.” –Unknown

To start practising your instrument
"I find that the harder I work, the more luck I seem to have." -- Thomas Jefferson

"You don’t learn to walk by following rules. You learn by doing, and by falling over."– Richard Branson

"Successful people do what unsuccessful people are not willing to do. Don't wish it were easier; wish you were better." -- Jim Rohn

"Success is walking from failure to failure with no loss of enthusiasm."-- Winston Churchill

"All progress takes place outside the comfort zone."-- Michael John Bobak

"People who succeed have momentum. The more they succeed, the more they want to succeed, and the more they find a way to succeed. Similarly, when someone is failing, the tendency is to get on a downward spiral that can even become a self-fulfilling prophecy."-- Tony Robbins

"Successful people are not gifted; they just work hard, then succeed on purpose.” – G.K. Nielson

"The way to get started is to quit talking and begin doing."-- Walt Disney

"Success seems to be connected with action. Successful people keep moving. They make mistakes, but they don't quit."-- Conrad Hilton

"I never dreamed about success, I worked for it."-- Estee Lauder

"The only place where success comes before work is in the dictionary."-- Vidal Sassoon

"Amateurs sit around and wait for inspiration. The rest of us just get up and go to work.” – Stephen King

​"The secret of getting ahead is getting started.” – Mark Twain

"Without hustle, talent will only carry you so far.” – Gary Vaynerchuk

“Work hard in silence, let your success be the noise.” – Frank Ocean

"We are what we repeatedly do. Excellence, then, is not an act, but a habit.” – Aristotle

“It’s not what you do once in a while it’s what you do day in and day out that makes the difference.” – Jenny Craig

"Success isn’t always about greatness. It’s about consistency. Consistent hard work leads to success. Greatness will come.” – Dwayne Johnson

“Never stop doing your best just because someone doesn’t give you credit.” – Kamari aka Lyrikal

"Do the right thing even when no one is looking.” – Unknown

"Work hard for what you want because it won’t come to you without a fight. You have to be strong and courageous and know that you can do anything you put your mind to. If somebody puts you down or criticizes you, just keep on believing in yourself and turn it into something positive.” – Leah LaBelle

"You can either experience the pain of discipline or the pain of regret. The choice is yours.”  – Unknown

"You never know what you can do until you try.” – William Cobbett

"Practice makes progress not perfect.” – Unknown

“You may be disappointed if you fail, but you’ll be doomed if you don’t try.” – Beverly Sills

"You don’t need to see the whole staircase, just take the first step.” – Martin Luther King Jr.

Action is the foundational key to all success.” – Pablo Picasso

“Even if you’re on the right track, you’ll get run over if you just sit there.” – Will Rogers

"No masterpiece was ever created by a lazy artist." --Anonymous

"You don’t have to be great to start, but you have to start to be great.– Zig Ziglar

"The most difficult thing is the decision to act, the rest is merely tenacity. -- Amelia Earhart


To have effective-practice mindset
"Focus on being productive instead of busy.” – Tim Ferriss

"The successful warrior is the average man, with laser-like focus."-- Bruce Lee

"Lack of direction, not lack of time, is the problem. We all have twenty-four hour days. - Zig Ziglar

" You work on something a little bit every day, you end up with something that is massive.” – Kenneth Goldsmith

"The man who moves a mountain begins by carrying away small stones. – Confucius

"If today you are a little bit better than you were yesterday, then that’s enough.” – David A. Bednar.

“Stop being afraid of what could go wrong, and start being excited about what could go right.” – Tony Robbins

“If it doesn’t challenge you, it doesn’t change you.” – Fred DeVito

"When obstacles arise, you change your direction to reach your goal; you do not change your decision to get there. -Zig Ziglar

"It's gonna get harder before it gets easier. But it will get better, you just gotta make it through the hard stuff first." Unknown

"Don't fear failure. That shit is powerful. Fear mediocrity. That will waste your entire life." Tom Bilyeu

PERSISTENCE in learning and/or practising
“Whenever you find yourself doubting how far you can go, just remember how far you have come.” – Unknown

“We can do anything we want to if we stick to it long enough.” – Helen Keller

"Every champion was once a contender that didn’t give up.” – Gabby Douglas

"If you really look closely, most overnight successes took a long time."-- Steve Jobs

"Many of life's failures are people who did not realize how close they were to success when they gave up."-- Thomas Edison

“I’ve missed more than 9,000 shots in my career. I’ve lost almost 300 games. 26 times I’ve been trusted to take the game winning shot and missed. I’ve failed over and over and over again in my life and that is why I succeed.” – Michael Jordan

"I hated every minute of training, but I said, ‘Don’t quit. Suffer now and live the rest of your life as a champion.” – Muhammad Ali

"When you feel like giving up just remember that there are a lot of people you still have to prove wrong" -- Unknown

"A man is not finished when he is defeated. He is finished when he quits.” – Richard Nixon

"It does not matter how slowly you go so long as you do not stop." - Confucius

"Believe in yourself, take on your challenges, dig deep within yourself to conquer fears. Never let anyone bring you down. You got to keep going."– Chantal Sutherland

"When the going gets tough, put one foot in front of the other and just keep going. Don’t give up." -- unknown

"The most important step a man can take. It's not the first one, is it? It's the next one. Always the next step." -- Brandon Sanderson​​

Rhythmic design is in my opinion more distinctive and memorable in music compositions. Hence, that makes it crucial to master accurate rhythm and have a good sense of internal timing. This is also a foundational skill for effective ensemble performance.
​
There are many strategies out there. In this article, I just want to highlight the 7 methods which I used most often with my piano students. They are of course, also applicable to other lnstruments.
 
1. Play with a Metronome
This is probably the most convenient way to quickly internalise the intended beat.

There are also other ways to use it. Firstly, it a useful tool to do slow practice and gradually move to the intended speed. I usually build up 5bpm with my students, ensuring each round is fluent and steady. Secondly, I find that students respond well to this when they struggle with subdivided beats too. For example, in a typical swing beat of a jazz beats, 2 quavers is played as triplet quavers instead. Students who initially struggle with this rhythm usually do better with a metronome providing subdivided beats. This is slowly weaned off once they can feel the crotchet beats instead.
 
2. Record yourself
I record my students playing very often. Because recordings don’t lie. And this is great for students who are stuck in the “non-awareness” zone.

Now and then, I come across students who are not even “aware” when they keep losing the pulse at certain bars, even after it was rectified with metronome and teacher’s guidance. However, after I showed them the recording, the feedback is immediate and valuable. Sometimes we also tap and clap together with the recording to review the rhythm. The non-aware to being-aware stage is crucial change for any correction to take place. :)
 
3. Add physical movement to a pulse
Sometimes when the metronome is not solving much rhythmic issue, I add in a physical movement to match the rhythm instead. Known as eurhythmics, this idea is that music should be learned through all the senses, including kinesthetic (physical awaress). This is especially useful for younger learners who are active. However, it can be a fun break for teens/adult learners too.

The movements could be simply marching around, clapping at specific beats or add dance move at certain beats. Whatever physical moves that will engage yourself and make your rhythmic pulse stronger is the key. This exercise could be further enhanced by using together with the metronome.
 
4. Learn to count subdivided rhythm when necessary
Sometimes the change of rhythm makes it hard to play certain rhythm in the context. The most common issue I have encountered is the dotted quaver followed by the semiquaver rhythm. Sometimes, it is useful to just count four semiquavers to get the dotted rhythm accurate. There are also times we even need to count simply quavers (1+2+3+ ...) instead of the main beat just to get the internal pulse going accurately. So in short, it is not always about counting just the main beats all the time.
 
5. Use words with similar rhythm for passages that keep going awry
Sometimes thinking of a word or sentence with a similar rhythm helps to cure the rhythm accuracy. My favourite example is to ask students to think of the word “banana” or “pineapple” when playing triplets. It does help most of the time.
 
6. Count out loud or tap
Counting out loud or tapping works for some students but not all. Some students are shy or some students may have problem even coordinating various movements. But for those who thrive on this method, it is also a good way to develop their “muscle” for consistent internal counting. This brings me to the next point.
 
7. Consistent Internal Counting
Over the years, what I find more fascinating is that even when students know how to count, they choose not to count whenever they start a piece or throughout the piece. Internal counting is like the heartbeat of musician, it needs to be ongoing from before the piece starts till the piece ends. If you are not in the habit of internal counting, use the strategies (1) – (5) to build your "muscle" in internal counting. 
 
Last but not least, if you have an established music partner (with good sense of rhythm) to spar with, this would also help you enhance your internal pulse. Though provided that your spar partner is fine to spar with you. :)
 
On my final words, I hope the sharing would help you enhance your rhythm and sense of pulse.
​Leaving you a quote to ponder 

Hi friends,
In this blog, I have decided to collate my personal pet peeves accumulated over 18 years of piano teaching. My students are mainly grade 5 and above and over the years and very often, they are transferred students. Over the years, I have noticed a continuous pattern of certain things which most piano teachers never tell you but they should, which I will be sharing with you. Please note that I am not here to belittle any teachers or students and not everybody falls into the category. I am also not here to give full solutions to the things I have mentioned cos each problem deserve an article of their own. I would just like to share my observations and hope it brings awareness to both educators and learners.

Initially, I had 10 over pet peeves but I have managed to reduced to the 4 major ones. So here they are:

1. How to sit at the piano
I am always mindblown that 9 out of 10 of my students could not tell me what is the ideal sitting posture at the piano, even after completing their grade 8! That is usually the first thing I have to rectify for any new transferred student.

2. How to use the pedals
I recalled one student who does not know how to use the sustaining pedal and did not use it at all during her grade 8 exam! Apart from that, I am thankful most students are able to use the sustaining pedal. However, most of them have no clear idea how or when to press the pedal accordingly. So it is a rather instinctive skill most of the time. When it comes to the Una Corda or soft pedal, it is clearly out of the radar for 90% of students. I am still figuring out why is the left pedal being avoided by most teachers like a plague. When it comes to the middle sostenuto pedal, if a student can tell me how to use it, I would go and buy a 4D that week!

3. How to use various weight (finger, arm, body), wrist and relaxation
Now, this is my biggest pet peeve, especially when taking over a grade 8 student advancing into diploma course.  The non-existence of technique with regards to weight, wrist and relaxation means that I have to start from ground zero foundation with these students. Very often, they get frustrated as I am, sadly the first person to deliver the truth about technique to them. I also lost count to how many times I see bad technique and tension. It is also no joke when the students develop tendinitis and injuries and could never play the piano again.
PAINFUL TRUTH!
If only these students have come to me earlier! Some students unfortunately couldn't unlearn and decide to give up piano too. Conversely, I am proud of those students who persisted to relearn and have a breakthrough to the next level of piano playing.

4. How to practise
When I ask a new student how they practise at home, i always get a quizzical look in return.
"Play a few times until correct?" is a common answer.
​From this answer, I always know I have gaps to fill and another transformation is in progress again. :)

I respect private studios and teachers. In fact, I could have done private teaching myself. It is actually easier for me if I teach privately as I would have more time for myself too, while earning perhaps even more income.

However, I took the leap to set up Music School with my partners in 2012. This was after many considerations. Firstly, private teaching is lonely and many aspects are limited. As the famous basketball player Michael Jordan says, "'Talent wins'' games, but teamwork and intelligence win championships." Secondly, there are so many pros of a Music School that it is hard to ignore. The structure, facilities and resources a Music School can provide usually far outweighs the convenience of a private studio. Hence, if I wanted to bring Woodwind Education in Singapore to a new heights (my mission), I had to set up a one-stop music centre where the top players and dealers are willing to convene, so as to give the best woodwind education in Singapore. Conversely, what this means for our music students is that they also enjoy the benefits of this synergy!

Below are some of the considerations which I have thought through and is probably worth thinking about if you are considering learning at a Private Studio or at Music School like Flute and Music Academy.

So far, with my team players (whom I am thankful to have), I was able to do things that are very limiting for private teachers. I was able to
1. Create rental programs that enable anybody to try learning Wind instruments with little hassle and with low starting cost.
2. Bring in an array of instruments and accessories for students to pick up immediately according to their needs.
3. Bring together enough people to form enjoyable Ensemble classes and Concerts.
4. Groom young teachers to be better teachers (which they will not get this chance if they decide to become private teacher immediately after graduation). In this industry, many people often overlook that teaching is another set of skill and it needs to be nurtured by mentors as well. Not everybody who can perform can teach (similarly to complaints about University Lecturers). With better teachers means  students' standards will naturally be better. This has been proven in the last 4 years of the ABRSM results as well and I am extremely proud of the team and results so far.

So I hope this post brings you some insights of why Music School can be a better place if there is a system and structure in place.

Over a conversation with my good buddy recently, I just casually mentioned that for every O Level/ MEP student who comes to me for help always exit the first class with a certain twinkle in their eyes is as if they had just witnessed magic! He remarked immediately that I should write about my “magic formulae” of what I did in my first class!

Then I thought about it how can I present my “magic formulae” and I was stuck for a long time. The issue is, O Level Music/MEP is a subject that requires a variety of abilities and every student who comes to me has different problems.  Hence, there’s no fix set of formulae for every student. However, after much thought, I decide I could discuss the most problematic segment in O Level Music: Music Writing or Wordsetting! After 15 years of teaching the O Level Music, I have figured out the “magic-formulae” and the 7-steps Framework which any student can use immediately! I am confident about this as it shows in my students’ results when I was the Subject Head in Dunman High: 80-96% distinctions were the norm, including my external students.

Interestingly, many schools I know do not conduct enough practice sessions for Wordsetting. Although it is only 20% of the current curriculum, the skills needed for this (unfortunately) requires regular practice. The spacing effect practice (phenomenon was first identified by Hermann Ebbinghaus), together with effective feedback, would be the best combination for any students to master the skills needed for Wordsetting.

Without further ado, here are my 10 “Magic Formulae” you need so one can do well in Wordsetting.

1. Be sure of the diction in English Language
With a multicultural society, the English diction has been rather tainted and this becomes a challenge for Wordsetting. Fortunately, most students are fine in this area as long as they are made aware of the diction and they can “switch” from Singlish to English accents. However, I have encountered a few students who have trouble differentiating the correct pronounciation. The Singlish diction has been ingrained in some students as the correct diction and that unfortunately needs to be rectified.

2.Able to understand the poem
Common sense it may seems but some students just dive into writing “formulae” harmonies and melodies after drafting the stress and rhythm. Do take time to analyse the poem’s mood, structure and note any words or phrases that is worth “painting musically” later. If you understand how the famous film music composer Hans Zimmer writes his film music, he ALWAYS discusses how long he takes to understand the movie or the character before even if he starts to pen anything down. It is important to understand WHAT you are writing for!

3. Able to write basic 4-part harmony & progressions, including Cadences
A good foundation of harmony goes a long way. Most schools have so little time that harmony is often covered very swiftly and some students often did not get to master the technique of harmony properly. For a decent Wordsetting to be accomplished fluently, I would recommend the completion of these two books to have sufficient vocabulary to create decent music: Roy Wilkinson’s ABC of Harmony Book A and Book B (Or anything equivalent).

4. Able to write effective melodies
Some students have excellent inner ear and are able to create beautiful melodies by intuition. I always remind these students that they must cherish this talent that they have and not take for granted. However, purely by intuition and not knowing why or how it sounds great is not good enough. There are certain things to note that will make the melody sounds better than others and knowing it ensures a much higher success rate. For students who are not gifted with the intuitive melodic line, good melody writing tips will certainly help.

5. Able to write some accompaniment patterns
I noticed this part of the training is the most overlooked. Do spend some time to learn writing some common accompaniment patterns per se first.

6. Know the piano and voice range
Interestingly, most students do have the correct knowledge about idiomatic piano writing and voice range. However, when it comes to the actual assignment, it takes a while to assimilate this understanding.

7. Learn from the masters by analyzing Songs and Lieder [composition devices, harmony, word painting etc…]
Seems like another common sense here but to my surprise over the years, most students tell me they have never looked at real literature for reference! There is so much to learn from real songs. Analysing with a teacher is also far more effective as the teacher is able to draw things out that a student is unable to “see”.

8. Know how to notate your composition properly, especially with the software
This part can be leant very quickly and do get it right!

9.  Get effective feedback from a mentor who can point out the intricacies of music composition. Points 1 – 8 can still be figured out by oneself if one is smart enough. However, without step 9, all students are completely at a loss. What makes Wordsetting so difficult is that unlike other subjects, there is NO FIX ANSWER. A distinction piece of writing can come in all forms and character! I believe what makes the eyes twinkle after my class is that my students suddenly understood how to write their Wordsetting independently and confidently, using my 7-steps Wordsetting framework AND feedback.

10. Remember the spacing effect practice I mention at the start of this article? You need to write regularly and get feedback regularly, only then you can learn music writing EFFECTIVELY!
​
So there you go, that is my “magic formulae” for those who are struggling with Wordsetting! Do you still need help for your wordsetting after reading this? Contact me for a trial lesson via email: [email protected]
​
With much love,
Ms Lin Shumei

​ Enneagram and Music Learners
 
If you have not heard of Enneagram, you may want to google it to read more about it. It is one of the most famous personality test dating back to the fourteenth century. It is widely used not only as an interesting way to learn about yourself, but also as a tool for transformation in work, relationship, salesmanship etc…
 
In this blog, I am going to explore how Enneagram can enhance your music learning. Disclaimer: I am not a expert in Enneagram. Do have fun with this exercise but do not judge the accuracy. :)
 
For those who does not know what your CORE Enneagram is, here is a recommended site for a quick test: http://enneagramtypetest.com/test/ or you can just scroll down and see if you can identify the signs of yourself.
 
Enneagram Type 1 Music Learners (Perfectionist)
Signs you are a type 1:
1. You are mission-driven and every lesson has to be in top form, sometimes treating your teacher like a machine rather than a human.
2. If you are in an Ensemble, you get stress or critical over players who are not playing well or who has unhygienic practices (esp. for Winds)
3. If you play a shiny instrument, you will ensure your instrument follow the recommended procedure of cleaning and is shining like a unicorn! And you probably go crazy over a tiny scratch that is not even visible to 90% of human.
 
Tips to make Type 1 Learning better:
1. Allow yourself to relax sometimes. Take time to bond with your teacher. .Getting to know your teacher better makes lessons more meaningful
2. Recognise people’s efforts instead of being critical all the time.


Enneagram Type 2 Music Learners (Teacher-pleasing)
Signs you are a type 2:
1. You love to bond with your teacher (especially if you are close) and half of the lesson becomes chatting instead of learning music
2. In an Ensemble, you are so busy taking care of everybody (e.g. stands, scores, food) that you tend to forget about yourself!
3. You are probably not too fussy about the details of the instruments as long as it matches your ideals.
 
Tips to make Type 2 Learning better:
1. Be attentive to the goals of the music class
2. Take care of your needs first and then help others in an Ensemble.
 
Enneagram Type 3 Music Learners (Achiever)
Signs you are a type 3:
1. You are goal-oriented and motivated by accomplishing tasks during a music class.
2. You love to perform and if there are any performing opportunities, whether Solo and Ensemble, you will sign up if possible.
3. You are naturally flashy and you love to own the premium range of instruments that people desire or accessories that make your instrument stand out.
 
Tips to make Type 3 Learning better:
1. Avoid shortcuts by asking yourself what will my teacher say if he/she is watching me practise.
2. Do manage your performances as you have a tendency to oversubscribe and get burnt out.
 
Enneagram Type 4 Music Learners (Individualist)
Signs you are a type 4:
1. You have no problem expressing music or even understanding the complex nuances in music making.
2. You are sensitive with who you collaborate in an Ensemble and get stress very easily when emotionally provoked.
3. Being “Unique” is your middle name. Anything that makes you unique will attract you, for example personalising you music books with your sticker name or having your flute joint engraved in a personalised manner.
 
Tips to make Type 4 Learning better:
1. Set deadlines and schedules for your music tasks
2. Go away for short breaks, like short walks, when you feel provoked.
 
Enneagram Type 5 Music Learners (Explorer)
Signs you are a type 5:
1. You are curious about everything and you will learn with much focus during music class.
2. Being in an Ensemble is not a natural choice for you and if you are in one, you won’t interact easily with others initially.
3. Being hungry for knowledge, you may end up more interested in the mechanism of your instrument than the music lesson itself!
 
Tips to make Type 5 Learning better:
1. Focus on learning music rather than thinking about your instrument!
2. Build connections with your teacher and during Ensemble to make yourself more appreciated and less isolated.
 
Enneagram Type 6 Music Learners (Responsible)
Signs you are a type 6:
1. You are so fearful of mistakes that you tend to  stop when you make a mistake in class. Hence, because of this, you are the ever-responsible student who will practise fervently so as to make less mistakes.
2. In an Ensemble, you are the kind who will not only worry about the music but also everything surrounding it, including logistics, schedule, uniforms etc…
3. You are so worried your instrument will break down that you are probably the kind who will send your instrument for professional maintenance regularly or just before a performance. You are most likely to have taken a long time to buy your instrument after doing tons of research too.
 
Tips to make Type 6 Learning better:
1. Participate in performances or mock exams to counter the fear of making mistakes
2. Use your natural gift and take on roles in a Ensemble that allows you to take control, for example logistic manager.
 
Enneagram Type 7 Music Learners (Enthusiast)
Signs you are a type 7:
1. You will want to go to the next piece that gets your attention before you even master your current pieces.
2. You are always the one who brings joy and liveliness to an Ensemble group. Sometimes you might be so talkative that you start talking to your neighbours, even when the conductor is talking!
3. You have a tendency to buy your instrument on impulse like YOLO.
 
Tips to make Type 7 Learning better:
1. Keep a schedule and commit the pieces you want to finish learning.
2. Instead of rushing to the next “shiny object”, keep a notebook or file of things that excite you and keep it in view.
 
Enneagram Type 8 Music Learners (Challenger)
Signs you are type 8:
1. You tell the teacher what pieces you want to learn and how you want the lesson to be conducted.
2. You are naturally a leader in an Ensemble group, always telling people what to do, though not always necessarily welcomed by others.
3. When it comes to your instrument, you like to be the one making the decision, not the salesperson and not even the teacher.
 
Tips to make Type 8 Learning better:
1. Remind yourself to “lower your volume” to create a pleasant environment.
2.  A little compassion and gentleness goes a long way.
 
Enneagram Type 9 Music Learners (Easily-Complacent)
Signs you are type 9:
1. You are the kind if the teacher does not give you instructions, you may not even practise your instrument cos’ doing nothing is your favourite activity!
2. You join an Ensemble because someone asked you along and you don’t mind. You might even be very drawn to the clarinet as this instrument has one of the most blending and soothing sounds.
3. You take very long to select your instrument before buying it. It is also most likely decided by your teacher or someone else as you are having a hard time choosing.
 
Tips to make Type 9 Learning better:
1. Learn to make (musical) decisions in class, even it may rock the boat of your teacher.
2. Discuss your desires with your teacher and make a concrete commitment to achieving them so as to avoid procrastination.

I wrote this article because many parents tell me that they hope their child can learn up till Grade 8 Piano.
I know that the point above open up another realm of viewpoints. However, in this blog, I just want to focus on how parents can increase your child’s chance of achieving Grade 8 Piano. If you believe strongly in music education and you hope your child can reach the grade 8 level one day, then this article is for you. Over the years, these are just some of my observations that parents do and I hope that you will not make the same mistake!

Here are the 7 mistakes that might deter your child from piano learning.

1. You’re not thinking the right way
Some parents believe that the child will decide if they want to learn or practise the piano. They do not want to interfere the child's choices at all. If you are not concern if your child quit piano at any time, then that is fine. But if you are hoping your child can learn till grade 8 and if you are not guiding the child, then it becomes a paradox.

Imagine Grade 8 Piano is like taking the O Level Examination. From primary one, do you leave the child to completely decide whether they like to learn or practise the “subjects” as when they like? Of course not! No matter how good a child is, there would be moments of encouragements, guidance and motivation needed. Downfalls and struggles are real and they have to be managed. Most parents will naturally put in much attention or even money to O Level Training for the child because it is an important National Examination.
What you should do: If you use the same mentality as above to nurture your child’s piano education, the chance of your child completing grade 8 will be equally high. Don’t you think so?

2. Being too concerned about perfection
Some parents expect the child to achieve distinctions for all grades. Some children are able to do it. Some children just can’t attain that level. However, not scoring distinctions does not equate to lack of interest in learning music. Most children are in fact happy to attend music lessons but without the stress of having to score distinction. Expecting distinctions when your child has tried his/her best may trigger the child to quit very easily.
What you should do: Focus on helping your child sustain consistent efforts and love for music.

3. Cannibalising your child’s music lesson time
Learning a skill requires commitment, in other words regular lessons.  However, it seems many parents have no qualms taking away the piano music lesson time for academic reasons like tuitions, tests and examinations. If you are a parent who does this, you are also telling your child that the piano lesson is indeed secondary. If so, do you expect them to finish till grade 8 with erratic or selective lessons? Unless a child inherently likes piano, when the “commitment” is disassociated with the subject, it becomes an easy item to give up later in life, especially when they enter teens. 
​What you should do: Focus on helping your child understand commitment and time management by encouraging them to turn up for all piano lessons regularly, even when the schedule gets busy!

4. Setting unrealistic expectations
There’s this trend now that students must achieve their grade 8 by 12 years old, so when they enter secondary school, they can either concentrate on academic learning or it can be used for DSA. The former reason always  puzzles me because if one completes the certification by 12 years old and neglect the skill after that, I am sure the money is actually wasted in time to come as the skill regresses from no practice. For the latter reason, I believe there is a time and space for talented kids who deserve the DSA. If your kid is good in music, congratulations! If your kid is not up to it, just leave him/her to enjoy the natural pace of learning the piano. They can still reach grade 8 eventually at their own interest and pace, as proven by so many of my former students! The reality is that most average kids cannot achieve grade 8 by 12 years old. Piano playing at grade 8 is not as easy as ABC. Just as any marathon runner will tell you, you can’t expect to run 42k without the proper training and conditioning.
What you should do: Review the progress of your child and what is the next target to challenge twice a year.

5. Following others blindly
It can be incredibly tempting to listen to your peers and be influenced what other children are achieving.
What you should do: Understand what works for you and your child and how you can be successful in music learning. Everyone is unique.

6. Losing sight for the long run
It is long known that learning the music when young for a period of time has a lot of benefits to our brain and social life. I am sure most parents want your child to learn the piano so that he/she has the advantage of these beneficial skills in the future.
What you should do: Keep the big idea of music education in view all the time as it helps one to make wiser choices along the way.

7. Spending time with the wrong teacher
The market is now flooded with piano teachers and choosing one can be difficult. To be honest, I have seen many piano teachers who can’t even play properly nor understand basic music concepts. Yet they have many young piano students. How do you expect someone who has limited piano knowledge to transfer the right skills? A wrong foundation is disastrous and could simply be the main reason for not making to grade 8 in the future.
What you should do: Do choose your teacher wisely. Paper qualification AND effective pedagogy are both important factors for consideration.  
At FAMA, not only are the teachers certified in their instruments with at least a diploma or degree, the teachers will also have to go through an interview to discuss about pedagogy with me. For young teachers, they are often encouraged to sit it other teacher’s class or seek help from experienced teachers when necessary. This culture gives FAMA teachers much muscle to teach our students effectively and appropriately.