I was very blessed that many of my past music teachers were also my life mentors.  They had strong musical training from the most prestigious institutes worldwide, and passed on their musical knowledge unreservedly and selflessly.  They had exceptionally high expectations on their students, yet also shared with them all the love and words of wisdom when it was needed.  They had been a tangible example showing me the influential power of music when music truly becomes part of ones life.  Through this perspective, I believe that quality music education should be transformative for all walks of life.  Therefore, especially in this age of rapid technological advancement when traditional forms of face-to-face relationship is being challenged, I treasure and honour my role as a music educator, and taking the responsibility of providing a safe and nourishing environment for musical and personal growth seriously.

Growing up in Hong Kong, I experienced and value the intellectual stimulations that a multi-cultural environment provides and how much it assists musical education.  I believe music learning is an assimilating process which through understanding and appreciation to other cultures and comparing to ones own cultural root, will, in turn, continue to vitalize their own culture and personal lives.  I encounter parents and students from increasingly blending cultural backgrounds in Canada and other places I taught.  I value the teacher-parent-student relationship as one of the key elements of success in every stage of music learning.  I will help parents and students to feel comfortable in starting a musical journey at places where their lives are at, and to enable them to establish an attainable strategic plan for developing the students’ potential to the fullest with my cross-cultural experience, and my advantage of being able to communicate with families in multiple languages.

I believe comprehensive music training is essential for a healthy development of instrumental playing.  Other areas like voice, theory, ensembleship, performance practice, and even simple conducting concepts will help the students to have a deeper understanding of music and technique.  I also believe a positive and interactive lesson setting, rather than spoon-fed with information, where students are respectfully challenged will motivate students in return.  The holistic approach to technique by observing and understanding the basic mechanism of our body from daily life motions and experiences is important for players of all age.  Through, for example, using daily-life related analogy and by showing positive and negative examples of a certain technical issue, and through learning from different kinds of physical experiments, students will develop their playing skills, active listening and independent, self-improving practicing techniques.

I consider weekly lesson an opportunity to establish a safe environment for students and parents for teamwork aiming towards the comprehensive growth of the students musical potential.   I believe in the uniqueness of each student in personalities, physical and psychological needs.  Thus I strive to create unique learning atmospheres that befits each student.  For example, lessons can range from a very gentle, relaxed and comfortable setting for a 4-year old so that the student would not be intimidated; to a fast-paced, passionate and driving setting for an energetic teenager who is at the advanced playing levels.  By using different languages/ cultural or historical references/ analogy from relevant daily experiences, students can learn in the most organic and effective way.  I believe setting high standard of playing for students according to their age and level is indeed encouraging and motivating.  Through a fine balance between enjoyment and striving for excellence, combining solid technical foundation with musicality, students will cultivate a life long ability of music appreciation, and be able to harvest the freedom of approaching different repertoire independently in the rest of their lives.

We will start with the Preliminary Level of Violin Study for Young Beginners, where we establish the essential beginning violin techniques (proper bow hold and violin hold, and healthy posture) and basic concepts of rhythm and note reading.

Upon the completion of the Preliminary Level of Violin Study, student will proceed to Beginning Level of Violin Study (Book A, Book B), an adaptation from H. Shinosaki's Violin Method combining with elements from the Suzuki Method, and Wohlfahrt Violin Study op, 38. With progressive technical development and introduction of level appropriate music theory and music history content, these materials will seamlessly transition to RCM Level 2.

Class options

Group class, bi-weekly (45min, maximum of four students in the same class)

Individual lessons, bi-weekly (30min)

Individual lessons, weekly (30min/ 45min)

We will start with Beginning Level of Violin Study Book A and Book B, which are adaptations from H. Shinosaki's Violin Method combining with elements from the Suzuki Method, and Wohlfahrt Violin Study op, 38.

We will immerse ourselves in many famous classical melodies which invites students to start their appreciation to music history and theory. We will also continue to consolidate our left hand (violin side) technique, and start to establish concept of bow control. Upon the completion of Book B, students will seamlessly transition to the Royal Conservatory of Music Level 2 for the continuation of a all-rounded musical development.

Class options

Group class, weekly (45min, maximum of four students in the same class)

Individual lessons, bi-weekly (30min/ 45min)

Individual lessons, weekly (30min/ 45min/ 60min/ 75min)

We will assess the relevant RCM level and smoothly merge into/ continue with the RCM materials for a comprehensive training covering a level-appropiate technique, repertoire and musicianship training.

Class options

Individual lessons, bi-weekly (30min/ 45min)

Individual lessons, weekly (30min/ 45min/ 60min/ 75min)

We will start with the Beginning Level of Violin Study Book A and Book B, which are adaptations from H. Shinosaki's Violin Method combining with elements from the Suzuki Method, and Wohlfahrt Violin Study op, 38, addressing specific technique issues encountered by adult beginners, and supplementing with motivating repertoire.

Class options

Individual lessons, bi-weekly (30min/ 45min/ 60min)

Individual lessons, weekly (30min/ 45min/ 60min)

We will use the very child-friendly My First Piano Adventure series by Faber to engage our young beginners to learn not only about the basic techniques, but also to have an early start of music theory through the various amusing activities provided by the books in baby-steps.

Class options

Individual lessons, weekly (30min)

Individual lessons, bi-weekly (30min/ 45min)

We will assess the relevant RCM level and smoothly merge into/ continue with the RCM materials for a comprehensive training covering a level-appropiate technique, repertoire and musicianship training.

Our lessons will continue with the Faber series, and will gradually transition into the Royal Conservatory of Music (RCM) syllabus starting Faber level 3B.

Class options

Individual lessons, weekly (30min/ 45min/ 60min)

We will assess the relevant RCM level and smoothly merge into/ continue with the RCM materials for a comprehensive training covering a level-appropiate technique, repertoire and musicianship training.

Class options

Individual lessons, bi-weekly (30min/ 45min)

Individual lessons, weekly (30min/ 45min/ 60min/ 75min)

We will start with the Adult Piano Adventure by Faber, with which the students will be equipped in improvising simple pop music with the appropriate harmony in a short period of time.

Class options

Individual lessons, bi-weekly (30min/ 45min/ 60min)

Individual lessons, weekly (30min/ 45min/ 60min)