Eliana should practice 4-5 times per week for 30-45 mins per session.

Fur Elise

  • Keep a consistent tempo throughout the piece, count 1, 2, 3 to the 8th note

Song of the Cavalry

  • Focus on the 2nd line of 2nd page – familiarity with notes, and keep the staccato playing in the L.H.

Hungarian Dance

  • Learn the first page, hands together


Anastasiya should practice 4-5 times per week for 15-20 mins per session.

Song of the Scarecrow

  • Review

The Bubble

  • Practice and review the first 2 lines of music we learned in class, feel free to try the next line

Theory Book

  • Make sure we bring this book to every lesson!


Vivienne should practice 4-5 times per week for 15-20 mins per session.

Maple Leaf Rag

  • Fluency on the 2nd page!

Betty Ragtime

  • Work on the R.H. part alone up to the repeat sign.
  • work on L.H. part up to marked spot


Chantal should practice 4-5 times per week at 15 – 20 mins per session

A Dozen A day

  • Weekly assigned exercises


  • Review, and practice with dynamic changes

O Canada

  • Review the R.H. melody, and start putting hands together for the first 2 lines, and try playing hands together further


Alyssa should practice 4-5 times per week at 30 mins – 1 hr per session.


  • Use the correct fingering, play with accuracy, and clarity on everything with the metronome
  • Keep your knuckles and fingers up

You and I

  • Accuracy and fluency of notes, and try to voice the top note of all chords

In Church

  • Focus on the 2nd half of the piece, with the suggested and written fingerings on all chords, played legato – work on few bars at a time


Stand by Me

  • Keep practicing hands together – try to focus on the spots where we often stop/make a mistake

Calypso Carnival

  • Review the R.H. notes, and start learning the L.H. notes


Claire should practice 4-5 times per week at 15 – 30 mins per session.


  • ‘Breathe’ between phrases (long slurs), practicing playing singing-like, with dynamic changes


Turkish March

  • A major octave exercise
  • Add 2 more lines

Pathetique 2nd movement

  • Voicing – bring out the outer voices (soprano & bass) while keep the inner voices (alto & tenor) quiet
  • Keep the soprano voice legato, but don’t connect the filler notes to the melody notes


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