Bachelor of Fine Arts (York University)
Katie Thurman is a singer, pianist, accompanist, and teacher based in Toronto. Her passion for music has been with her since childhood, and she is excited to have recently completed her undergraduate degree in music at York University.
Trained classically in piano, she continues to explore other styles including pop and jazz, as well as write her own compositions. Her vocal training is in both classical and musical theatre styles, as well as lengthy choral experience both in and out of school.
Katie spent 6 years singing with WIBI A Cappella, a collegiate-based group, during her time at York, and is proud to have competed with them twice in the ICCA (the very competition the Pitch Perfect films were based on!). Currently, she sings with the Toronto-based That Choir.
Katie loves all types of music, but spends most of her time listening to pop, indie, and alt-pop records.
Katie also writes her own songs and is working towards putting together an EP. Aside from music, Katie’s other passions include baking, film, and psychology. She loves teaching and is always pushing herself to grow pedagogically and musically!
Get to know Katie…Beyond the Bio!
Hobbies: baking, watching movies/TV, writing, yoga, hiking
Musical influences: Classical: Natalie Dessay, Maria Callas/Pop: Arcade Fire, Lana Del Rey, BANKS, Florence & the Machine, Rhye
Favourite food: Pasta
Least favourite food: Seafood
Favourite music: pop & alt-pop, indie/folk, dance, and all things Celtic
Favourite song: currently “Favourite Boy” by Half Moon Run
Favourite movie: Eighth Grade
Favourite movie music: A Single Man, music composed by Abel Korzeniowski?
Favourite musical theatre/opera: Les Misérables
Best quote from your teacher: Vocal teacher: “Just go for it! We want to hear ‘Katie-and-a-half'”.
Favourite quote: Motivation comes from work
Favourite book: The Handmaid’s Tale
Best thing about teaching at ABC: I like sharing my knowledge with students, and I learn from them too!
Latest Homework from Katie
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Thursday, February 12
Josh
We continued working on Numb today. We continued revising on the main groove. We should try not to tunnel vision on the last two beats of the groove. It is important to get it right, but also Josh should practise the bigger picture. Practise the two beats, then play it in the context of the second bar, then two bars together, later repeat the groove. Even if that means there is more rooms for error, seeing those errors will give us a better idea for what else to work on. Then we moved on to the hi hat section. Practise the sticking on a drum pad first, then practise it on their designated instruments. If the bass drum pattern is making it tricky, take it away first, then add it in once you are comfortable with the hands part. Remember to practise both licks equal amount.
Aleksander
When I Come Around is coming nicely. We tried playing with the song today several times. Aleksander has no issue playing all the grooves, but fitting it into the song seemed tricky. Bar 22 and 23 are two easy bars to play by itself, but Aleks struggled to play it with the recording. The band slightly speeds up during that section, hence it is important to be able to be flexible in that section, and anchor to the big beats and get to know the different melody lines layered (guitar and vocal). We will move on to another song next week. Great work!
Zico
We continued on Fly as Me. We played with the song up till the Outro Chorus section. Zico did great, but was finding some of the fills from few weeks back slightly tricky to play now. I reminded him to just dedicate like 5 minutes each practise session to revise these tricky fills, that way it is still in his system, and that he can consistently play it when we eventually play the song altogether. Zico did a great job working on Middle 8 section this week. We worked on Outro Chorus together this week. I would like for Zico to get familiar with the rhythm that is written in bar 60-63 and next class try improvising in that style to create an extended solo section.
Noah
The Good In Everyone by Sloan. We worked on the Intro Drum Solo together and tried to work it closer up to tempo and playing it with the track. In order to play it with the track, anchor to beat 2 and 4 in bar one and beat 2 and 3 in bar two. It is ok to ghost some notes when playing it fast. Please learn also the other fills notated on the handout.
Finn
We revisited Damascus. It seemed like Finn slightly forgot how to play the pattern so we took some time to work on the second groove. Focus on getting a good clean sound out of the open and close hihat. It is crucial to finding a good coordination between when you close the hihat and when the stick hits the hihat. Experiment a bit to find a good sound. Practise that groove and bring it up to speed.
Henry
Instead of continuing on Enter Sandman, I wanted to visit the idea of playing fills between repetition of a drum groove. I gave Henry two new grooves to learn, and a fill to play in between as transition. We will jam a bit next week!
Jared
Jared is making good progress learning Master of Puppets. I encourage him to practise more consistently so he is more familiar with the material. We worked into the section that is marked 104 bpm. Don’t speed through those licks as they are slower than you think.
Koel
We started today with a play through of Master of Puppets. Great job and I just wanted to point out a few things. The bass drum kicks sometimes become uneven when playing fast, so I suggested Koel to come up with a plan to counter act that. My suggestion is to play the second hit intentional louder when practising, so eventually when playing it faster, it evens up. I also noticed some of the eighth note centric bars tend to be rushed. I encouraged Koel to try to sing the rhythm in his brain more, so his brain doesn’t freak out and go into panic mode when playing these slower bars in a whole section of fast drumming. We moved on to playing Fool in the Rain. The pattern is hard to learn, and I want Koel to especially pay attention to the shuffle feel. Get that feel right before adding on top all the embellishments (ghost note and the open close hihat). Try to play through the first two lines and if Koel manages to get through that, learn the entire page.
Preferred Books for Katie’s Students
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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.
Alfred's Adult Basic All-In-One
Alfred’s Basic Adult All-in-One Course is designed for use with a piano instructor for the beginning student looking for a truly complete piano course. It is a greatly expanded version of Alfred’s Basic Adult Piano Course that will include lesson, theory, and technique in a convenient, “all-in-one” format. This comprehensive course adds such features as isometric hand exercises, finger strengthening drills, and written assignments that reinforce each lesson’s concepts. There is a smooth, logical progression between each lesson, a thorough explanation of chord theory and playing styles, and outstanding extra songs, including folk, classical, and contemporary selections.
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.
Vocal Workouts for the Contemporary Singer
The vocal workouts in this much-anticipated follow-up to Peckham’s The Contemporary Singer are based on Berklee College of Music’s highly effective vocal method. This volume will help vocalists develop the voice through good vocal health, warm-up exercises, advanced techniques, stage performance advice and more. Includes companion online audio for ultimate interactive education!
Alfred's Teach Yourself to Sing
Learn to sing and open up a brand new world of musical knowledge with this exciting method from Alfred Music. Beginning with the fundamentals, you will learn about equipment used by singers, vocal health, and getting acquainted with reading music. You will then move right along to breathing, vocalizing, proper warm-ups, and singing songs, lesson by lesson, all while continuing to increase your knowledge of reading and understanding music. You will learn to sing an array of musical styles including pop, jazz, classical, and musical theater. Near the end of the book, you will be introduced to the idea of individual interpretation, which will help you color your songs with your own unique style. The book features a chord and scale chart for reference during and after your lessons.






