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!
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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]
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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.