Jasmine Tsui is an interdisciplinary artist specializing in percussion performance, contemporary improvisation, and arts education. As a creator and composer, Jasmine takes great joy in blending art forms — drawing from her background of painting, musical performance, and dance — and exploring the multitude of ways these practices can influence, inspire, and interact with each other.
Having a colorful and versatile musical background, Jasmine has had various performance opportunities spanning orchestral performance to free improvisation. Originating from an orchestral background, she has participated in the Vancouver Symphony Orchestra Institute (VSOI) and the National Youth Orchestra of Canada (NYOC). Other programs she has performed with include the Yarn/Wire Digital Summer Institute and the Young Artist Program for the Scotia Festival of Music. When she isn’t teaching, improvising, or making art, Jasmine is most likely collaborating with duo partner and co-founder of Duo Cichorium, Louis Pino. Together, they blend performance, improv, custom electronics, and visual art to create grand multimedia works rooted in playfulness, absurdity, and abstraction.
Her teaching philosophy is rooted in the classical idiom, prioritizing technique and fundamentals while leaving room for holistic creative exploration. Jasmine is a firm believer in making art accessible, and aims to reflect that in her adaptive and playful approach to teaching.
Jasmine holds a Masters Degree in percussion performance as well as an Advanced Certificate in performance from the University of Toronto, studying under the tutelage of Aiyun Huang, Beverley Johnston, and Charles Settle.
Get to know Jasmine…Beyond the Bio!
Hobbies: improvising, drawing, watching movies
Musical influences: Kikuo, Pauline Oliveros, Bjork, Nicole Lizée, Nahre Sol, Anthony Braxton, Favourite food: sunny side up egg on toast, congee
Least favourite food: raw bell peppers
Favourite music: orchestral, electro-acoustic, vocaloid, pop punk
Favourite album: SAVED! By Reverend Kristin Michael Hayter
Favourite movie: Hunt for the Wilderpeople, The Muppet Movie, Soul
Favourite video game soundtrack: Undertale
Favourite musical theatre/opera: Little Shop of Horrors, Chicago
Best quote from your teacher: “Just go out there and have fun!”
Favourite quote: “Sucking at something is the first step to being sorta good at something” – Jake the Dog, Adventure Time
Favourite book: The Graveyard Book by Neil Gaiman
Latest Homework from Jasmine
Is Jasmine Your Teacher?
Sign up now to get your weekly assignments delivered, and never lose your homework sheet again!
Assignments for the week of September 11th, 2024
Sara
Technical Exercises – Working through new key this week: E Major (4 sharps)
Overall thinking about larger groupings of notes/fingers and thinking ahead instead of thinking of what you are doing. E Major Technique Fingerings – Sara
- Scales: E Major hands separately 1 octave first, working towards hands together 2 octaves – thinking about hand position groupings as opposed to individual notes/steps. Thinking about what is under the fingers at any given moment, what is the highest/lowest notes in each position, how far do we need to move to get to the next position, etc.
- Practicing as solid blocked chords of each hand position, then moving on to stepping through the scale with a detached articulation, still thinking about the larger hand position.
- Triads: Focusing on HS solid triads, watching out for finger 2 in each position (see attached example). Holding each inversion and thinking ahead before moving, only moving to the next position when you are feeling prepared and confident you can go right to it.
Pierrot and Pierrette – Beginning to think about musical direction and dynamics! One of the most important parts of telling a story is communicating clearly – so making sure that we know what the beginning and ending of your ideas are in the piece is a good place to start (considering what they are to you right now, not what is the “correct” answer). and start to introduce dynamic markings.
- Think about your characters, shifting moods, or a narrative that makes sense for you within this piece – use it as inspiration musically as you are working. Consider the beginnings and endings of your musical ideas and how they might impact musical shapes/dynamics that are already on the page.
- Making sure that we are comfortable enough with “step 1” of notes/rhythms that we are able to at least play comfortably to the end of each idea without getting caught off guard.
- Begin introducing dynamic shapes that are on the page.
- Thinking about our waltz rhythm and how it can help us understand the flow of the music – STRONG weak weak STRONG weak weak (always going to the next strong beat 1!)
- Practicing pulsing solid chords in LH to get comfortable with changes (also a good way to introduce your dynamic shapes!)
The Entertainer – For octaves and large chords, making sure to not let our hand/wrist/forearm get tense. Opening up our fingers from our wrist instead of the base of our fingers, and not letting the wrist get too high (we want to keep as relaxed and open as possible). Practicing repeating chords/octaves and making sure you are able to stay loose especially in your wrist.
Bartok – New set of reading exercises: begin working through the first few exercises (1-6 should be enough for this week). Observing as much as you can about each new exercise before playing, see how much you are able to hear in your head before playing. Bartok Mikrokosmos Book 1 1-19
- Paying attention to rhythms, shapes/directions of notes in groupings instead of reading 1 note at a time, any patterns you notice.
Clara
Working through scanned pages, focusing on playing on the black keys and reading through each piece as opposed to practicing the same piece repeatedly. Saying all finger numbers out loud while playing through, and watching out for half notes vs. quarter notes.
Assignments for the week of September 4th, 2024
Hello everyone, it was great to meet you all and get started this week! Here are the notes from this week’s introductory lessons, I am looking forward to jumping into work next week.
-Trevor F.
Sara:
Review technical exercises (scales/triads) in your favourite key from June’s exam so we can jump into something new next week.
Continue working through “The Entertainer”, only allowing yourself to fully play it through once or twice before next week’s lesson; instead practice by breaking it apart into smaller chunks and focus on identifying and trying to solve problems (remember, you can’t eat a whole pizza in one bite!). Supporting the fingers by thinking about the arm and checking in to see if you are relaxed (for example, opening the hand from the wrists instead of at the fingers for octaves and chords to stay relaxed in the arm).
Start new piece in RCM book, “Pierrot and Pierrette” – working independently to see how much you are able to learn/get together in one week. Remember to break things into manageable chunks before trying to run anything this week! (looking for patterns, hands separate practice, considering how each hand might help or trip up the opposite hand when together, noting “tricky spots” and focusing on them)
Clara:
Focusing on hands separate 5 finger patterns at and away from the keyboard. Begin by having a parent/guardian demonstrate the pattern while speaking aloud and tapping fingers, then having her copy. If comfortable with this, moving on to have her read and attempt the patterns without demonstration or assistance. Tapping noted patterns and saying finger numbers out loud – can be done on the lap, on a closed keyboard lid/table, and then eventually moving to 5 finger positions starting on C and G. When comfortable saying finger numbers and playing on keyboard, begin saying lettered note names aloud while playing the same patterns in C and G 5 finger positions. Feel free to make up other patterns beyond those listed in the separate document!
Hakim:
Review/continue working on “Creator” so we can get started on it together next week.
Begin work on “Distant Chimes”. Before playing anything, have a look through the entire piece and look for patterns, hand positions changing, watch for any sharps or flats, and overall try to imagine how things will sound.
If you are struggling to figure things out and need to listen to the piece for guidance, a good recording is as follows: https://www.youtube.com/watch?v=epEo07esc8I
Liam:
Technique exercises – bring back scales in C, G, and D major 1 octave hands separately. Blocking out groups of fingerings and hand positions as solid chords like we tried together in lesson (for example: CDE-123, FGABC-12345).
Review an older piece from your exam pieces that you enjoy and be prepared to play through it next week. Think about any challenges you might have had while learning this piece, as well as something about it that you particularly enjoy!
New Piece: Sonatina in A minor (movement 1) from RCM grade 3 book. Work through as much of this piece as you can this week (hands separate or hands together, however much you are able to get together is fine), observing patterns and things you recognize, watching for “tricky parts” and focusing in on them, thinking about how our hands work together or may confuse the opposite hand.
Assignments for the week of September 14th, 2024
Shakira
Technique Exercises: working in C Major (no sharps/flats)
1 Octave C Major scale – Practicing as solid blocked groups of fingers within each hand position, bouncing back and forth between positions. Thinking ahead before moving. Once comfortable with shifting between hand positions fully, stepping through the scale slowly.
C Major solid triads – Practicing finding and moving between C major root position, first inversion, and second inversion triads. Following the fingerings on the attached page of notes. Review Note Page – Shakira
Bartok Exercises – Read through exercises 1-3 (all of page 1), focusing on following the shape and contour of the notes as you read instead of thinking one note at a time. Paying close attention and double checking starting notes for each exercises LH and RH (they will all be parallel motion on the same notes between hands) Bartok Mikrokosmos Book 1 1-19
Lunar Eclipse – Begin working through hands separately at first, until you notice the RH pattern, then working hands together. Watch out for any patterns you notice, double check any note names you aren’t 100% certain of (see attached page of review notes).Lunar Eclipse
The following link is to a reliable recording of Lunar Eclipse for you to listen to:
Preferred Books for Jasmine’s Students
Click to buy them here, and they’ll come right to your house! What could be easier?
STICK CONTROL
George Lawrence Stone’s Stick Control is the bible of drumming. In 1993, Modern Drummer magazine named the book one of the top 25 books of all-time. In the words of the author, it is the ideal book for improving: control, speed, flexibility, touch, rhythm, lightness, delicacy, power, endurance, preciseness of execution and muscular coordination, with extra attention given to the development of the weak hand.
PROGRESSIVE STEPS TO SYNCOPATION
Voted second on Modern Drummer’s list of 25 Greatest Drum Books in 1993, Progressive Steps to Syncopation for the Modern Drummer is one of the most versatile and practical works ever written for drums. Created exclusively to address syncopation, it has earned its place as a standard tool for teaching beginning drummers syncopation and strengthening reading skills.
Modern School for Xylophone, Marimba, Vibraphone
The Goldenberg book “has been used by generations of orchestral mallet players to develop their skills. As well as studies and etudes, this book includes excerpts of major orchestral repertoire for keyboard percussion instruments. This edition, edited by Tony Cirone, includes phrasings that were inherent in the music but not specifically written out. Stickings are also addressed: the original stickings are in uppercase letters, and the added stickings are in lowercase. This book is the primary source for keyboard percussion players to learn technique and orchestral repertoire.”
RCM Voice Repertoire
A Comprehensive Voice Series serves as the official resource for voice assessments of the Royal Conservatory Music Development Program. Featuring an outstanding selection of voice literature and supporting materials, this series offers a truly enriched learning experience to help ensure student success. As in previous editions, Resonance encompasses a rich and varied selection of Repertoire, Vocalises and Recitatives that students of all ages and voice types will find appropriate to their musical interests and level of technical ability.
RCM Piano Repertoire
RCM Technical Requirements for Piano
RCM Celebration Series Piano Etudes
Belting - A
Written for ages 5 and 6, My First Piano Adventure captures the child’s playful spirit. Fun-filled songs, rhythm games and technique activities develop beginning keyboard skills.
Faber & Faber Piano Adventures
The 2nd Edition Primer Lesson Book introduces the keyboard, note values, and the grand staff. Students play in C 5-finger scale patterns, develop recognition of steps and skips, and learn letter names independent of finger number. Musicianship is built through the use of dynamics and coloristic experimentation with the pedal. The book is organized into units which represent the major concepts and skills. As new units are introduced, earlier concepts and skills are constantly reviewed.
Faber Piano Adventures
The 2nd Edition Level 1 Lesson Book introduces all the notes of the grand staff, elementary chord playing, and the concept of tonic and dominant notes. Students play in varied positions, reinforcing reading skills and recognizing intervals through the 5th. Musicianship is built with the introduction of legato and staccato touches. This level continues the interval orientation to reading across the full range of the Grand Staff. The 5-finger approach is presented here in a fresh, musically appealing way.
Belting - A
Written for ages 5 and 6, My First Piano Adventure captures the child’s playful spirit. Fun-filled songs, rhythm games and technique activities develop beginning keyboard skills.
Modern School for Xylophone, Marimba, Vibraphone
The Goldenberg book “has been used by generations of orchestral mallet players to develop their skills. As well as studies and etudes, this book includes excerpts of major orchestral repertoire for keyboard percussion instruments. This edition, edited by Tony Cirone, includes phrasings that were inherent in the music but not specifically written out. Stickings are also addressed: the original stickings are in uppercase letters, and the added stickings are in lowercase. This book is the primary source for keyboard percussion players to learn technique and orchestral repertoire.”
The Brown Scale Book
This essential resource includes all major and minor scales, triads, arpeggios, dominant sevenths, and chromatic scales organized by key. A favorite for decades, The Brown Scale Book belongs in every student’s library.
