PIANO LESSONS
Alternative approach - based on the classical schoo
Olena Davydenko
idocword@gmail.com, +1 (740) 707-3835
North Cambridge, MA 02140
Professional piano teacher experience 16 yearsAcademy of Music Kyiv, Ukraine Specialist diploma 2009 - 2014
College of Music R.M. Gliera Kyiv, Specialist diploma ) 2005 - 2009
Professional attestation piano teacher level of the highest category 2022, Ministry of Education and Science in Ukraine
Lead of the department of composition, accompaniment, ensemble, general piano, organization of methodical and educational, academic events at the Art school 2017-2022, Kyiv, Ukraine ...... to click to read more
Class of organ with Honored Artist Olga Dmytrenko 2009-2012, Kyiv
Scientific work on the topic of modern Ukrainian music under the supervision of professor of philosophy Larisa Dovga of the Kyiv-Mohyla Academy 2009-2014
Interviewer competition of pianists named after R. Horovyts
Organ courses of concert mastery and concert performance, Letychiv 2014
Piano courses of concert mastery and concert performance under the direction of Canadian Professor Janusz Skovran, Poland
Courses theory oh music with Proffesor L.Taksa Kyiv
Professional Experience Children's School of Arts (Kyiv Region), Ukraine Accompanist and Piano Teacher 2007 - 2022
International Institute of New England Boston, MA CRES Program Participant 2022 - Present
● An intensive program designed to facilitate entry into the United States workforce for new Americans through job search support, workforce cultural orientation workshops, and English courses focusing on job readiness skills such as professional and vocational vocabulary, computer skills, and effective communication. Time commitment ranges 20-30 hours per week
Ukrainian National Tchaikovsky Academy of Music Kyiv, Ukraine Specialist diploma with honor in Culturology 2009 - 2014
● Graduated from the class of organ music under the guidance of Honored Artist of Ukraine Olga Dmytrenko, Kyiv in 2013
● Participated in program classes, master classes, lectures and concerts under the leadership of Yaroslav Wrublevsky and Professor Wojciech Bernadsky 1 of the Polish-Ukrainian Forum, Letychiv in April of 2012
Kyiv College of Music R.M. Gliera Kyiv, Ukraine Specialist diploma in Music Teaching (Concertmaster, Pianist, and Accompanist) 2005 - 2009
● Took courses of concert mastery and concert performance under the direction of Canadian Professor Janusz Skovran, Poland, 2008
Skills and Achievements
● Worked as a music therapist with African percussion instruments at Montessori developmental school for children 2018-2019
● Participated in the competition of pianists named after R. Horovyts as an interviewer of performers in 2010
● Completion of diplomas of a professional attestation level of the highest category with 10-point certificate of accompaniment, and obtained qualification of Culturologist/Musical Culturology, Teacher, passionate piano player
● Defended a scientific paper on the topic of modern Ukrainian music under the supervision of professor of philosophy Larisa Dovga of the Kyiv-Mohyla Academy in July of 2012
● 19 years of experience as a piano teacher for students ranging from 3 to 70 years old, about 10 school graduates, two entering musical institution
Languages
● Fluent in Ukrainian and Russian, fluent in English
Scientific work on the topic of modern Ukrainian music under the supervision of professor of philosophy Larisa Dovga of the Kyiv-Mohyla Academy 2009-2014
Interviewer competition of pianists named after R. Horovyts
Organ courses of concert mastery and concert performance, Letychiv 2014
Piano courses of concert mastery and concert performance under the direction of Canadian Professor Janusz Skovran, Poland
Courses theory oh music with Proffesor L.Taksa Kyiv
Professional Experience Children's School of Arts (Kyiv Region), Ukraine Accompanist and Piano Teacher 2007 - 2022
International Institute of New England Boston, MA CRES Program Participant 2022 - Present
● An intensive program designed to facilitate entry into the United States workforce for new Americans through job search support, workforce cultural orientation workshops, and English courses focusing on job readiness skills such as professional and vocational vocabulary, computer skills, and effective communication. Time commitment ranges 20-30 hours per week
Ukrainian National Tchaikovsky Academy of Music Kyiv, Ukraine Specialist diploma with honor in Culturology 2009 - 2014
● Graduated from the class of organ music under the guidance of Honored Artist of Ukraine Olga Dmytrenko, Kyiv in 2013
● Participated in program classes, master classes, lectures and concerts under the leadership of Yaroslav Wrublevsky and Professor Wojciech Bernadsky 1 of the Polish-Ukrainian Forum, Letychiv in April of 2012
Kyiv College of Music R.M. Gliera Kyiv, Ukraine Specialist diploma in Music Teaching (Concertmaster, Pianist, and Accompanist) 2005 - 2009
● Took courses of concert mastery and concert performance under the direction of Canadian Professor Janusz Skovran, Poland, 2008
Skills and Achievements
● Worked as a music therapist with African percussion instruments at Montessori developmental school for children 2018-2019
● Participated in the competition of pianists named after R. Horovyts as an interviewer of performers in 2010
● Completion of diplomas of a professional attestation level of the highest category with 10-point certificate of accompaniment, and obtained qualification of Culturologist/Musical Culturology, Teacher, passionate piano player
● Defended a scientific paper on the topic of modern Ukrainian music under the supervision of professor of philosophy Larisa Dovga of the Kyiv-Mohyla Academy in July of 2012
● 19 years of experience as a piano teacher for students ranging from 3 to 70 years old, about 10 school graduates, two entering musical institution
Languages
● Fluent in Ukrainian and Russian, fluent in English
knmau.com.ua UNTAM TCHAIKOVSKY
🎹 PIANO LESSONS — An Alternative Approach Based on the Classical School
🔑 How traditional education makes a child lose themselves
In many music programs, children are gradually taught to fit expectations — to play “the right” repertoire, the “correct” technique, and to meet the standard of an exam or performance.
But music is born from inner resonance. When a child’s natural curiosity and favorite melodies are replaced with someone else’s agenda, they slowly stop hearing themselves.
This is how self-betrayal begins — not as rebellion, but as silence.
🌱 How my method works differently
In my teaching, I preserve the foundation of the classical school — its discipline, its language, its depth — but I add flexibility, personalization, and musical diversity.
Students explore classical works alongside modern genres — film scores, pop, jazz, even gaming soundtracks — to stay emotionally connected and internally alive.
Through this, technique grows not from pressure, but from genuine interest.
Each student learns to understand the logic of music and the logic of their own expression.
💬 My philosophy
To me, piano education is not about creating perfect performers, but about helping people stay connected to themselves — through sound, rhythm, and presence.
Because when a child keeps that connection, their art remains alive, and so do they.
When a Young Musician Betrays Themselves — and How to Come Back
Saying “yes” when the heart says “no”
When the child plays a piece only because the teacher or parent insists —
“You must learn Bach, not those songs from the cartoon.”
🔑 Every “yes” against inner joy makes the connection to music thinner.
💬 Return path: allow one “heart piece” every week — music that belongs to them.
Listening more to others than to their own ear
The child stops exploring how they want to phrase, fearing to be “wrong.”
The joy of sound becomes obedience to correctness.
💬 Return path: ask “How do you think this should sound?” — trust the ear before the rule
Enduring instead of choosing
They continue lessons just to please parents or avoid guilt.
The piano becomes a duty, not a language of feelings.
💬 Return path: pause to ask what makes lessons feel alive again — rhythm games, improvisation, duets.
Diminishing their own taste
“My music isn’t serious.”
They feel guilty for loving pop, film scores, or game melodies.
💬 Return path: connect classical and modern worlds —
show that melody and emotion exist in both Chopin and Coldplay.
Letting others cross their creative boundaries
Adults may rewrite their practice routine or criticize their way of feeling the piece.
💬 Return path: create shared authority — let the child design one small part of their program each month.
Ignoring body and fatigue
Practicing when the hands hurt, or when emotions are low — to “not disappoint.”
💬 Return path: teach listening to tension, using rest as part of musicianship.
“Rest is also rhythm.”
Changing themselves to deserve approval
Smiling through recitals they don’t enjoy, trying to be “the perfect student.”
The sparkle of authenticity fades.
💬 Return path: praise honesty, not only success —
“Your sound was real today, I heard you.”
Core idea
True artistry starts when a musician stays faithful to their inner rhythm,
even if it doesn’t fit others’ tempo.
🎶 My Approach / Мій підхід
- Music is fully shaped around you.
- Музика повністю підлаштовується під тебе
- Your individuality is the main instrument
- Твоя індивідуальність — головний інструмент
- There is no “wrong” piece — if it inspires you, we adapt it
- Не існує “неправильної” мелодії — якщо вона надихає, ми її адаптуємо
- Through music, your value shines
- Через музику розкривається твоя цінність
- From classical to pop — all paths lead to musicianship
- Від класики до поп-музики — всі шляхи ведуть до музичності
- We co-create melodies when none exist at the right level
- Ми спільно створюємо мелодії, якщо потрібної ще не існує
- Every method is a tool; you are the center
- Кожна методика — лише інструмент; у центрі завжди ти
✨ Our philosophy combines the best of Kodály, Suzuki, Traditional, and Modern methods — but always starts with the student’s uniqueness.
✨ Наша філософія поєднує найкраще з методик Кодая, Сузукі, академічної та сучасної — але завжди починається з унікальності учня
Beginners.
First music associations are so important for kids 3-6 years
First music associations are so important for kids 3-6 years
A child's natural interest in music needs to grow in a loving, open and easy to understand approach. Students younger than 6 years are eager to show their skills and suffer very little performance anxiety. We encourage our young students to perform in informal concerts for friends and relatives. This helps build confidence for their musical future.
This is a unique base layer of musical knowledge that will work at any time when you continue to study music. Because even after a certain time this basis works for the student. The student gets older, and his brain is ready to work at high speed. Previous lessons give an easy perception of text, lines, melodies, sentence construction, fingering, rhythm, theoretical understanding of the construction of melodies. Therefore, this first association with music as a beautiful art is so important.
This level, we prepared for the Mediant level. We performed the sequence as well as the Mediant level in miniature
This is a unique base layer of musical knowledge that will work at any time when you continue to study music. Because even after a certain time this basis works for the student. The student gets older, and his brain is ready to work at high speed. Previous lessons give an easy perception of text, lines, melodies, sentence construction, fingering, rhythm, theoretical understanding of the construction of melodies. Therefore, this first association with music as a beautiful art is so important.
This level, we prepared for the Mediant level. We performed the sequence as well as the Mediant level in miniature
Mediant level develops brain power by complexity line overlays
Now the student knows all the processes and they are familiar and convenient for him, so we can complicate the processes by adding more and more lines of complexity. It is at this moment that we use and develop the potential of the brain. Layering lines develops brain power by accelerating the technique, the speed of reading and learning, understanding the structure of musical structures. Strength appears in the hands, and we can add tempos, quickly switch. During this period, we go through etudes, sonata, polyphony and pieces with a gamophonic-harmonic texture. We go through the style of musical works and learn to feel and convey the characters of the era, experiencing with personal individual impressions ...
Hight level piano player - the most interestingabout philosophicallyideas of music
High level – The student independently analyzes works and plays, has good technique and is therefore able to construct the material independently. The opportunity opens up to devote more time to philosophical analysis of musical works. We follow the idea laid down by the composer and find suitable means of expression. We use all our skills to express musical thoughts and aesthetics. We do this to some extent at all levels - but at the high level we are more free technically and mechanically. We can do analyzing of music on different levels! The high level analyzing of art call anagogic sense.
When your knowledge of music is at a high level, you can analyze a piece of music as if we had watched a movie or read a book and make an analysis or conclusions about the work. If we put the puzzle of phrases into pieces, we can reason philosophically. For example, why the author used a certain form or texture in the main semantic block. This is how we reveal the composer's intention. What the author expressed regarding the musical topic he touched upon. The recipient always has some freedom of interpretation. Sometimes the author's talent creates unconsciously and this is also magic.
When your knowledge of music is at a high level, you can analyze a piece of music as if we had watched a movie or read a book and make an analysis or conclusions about the work. If we put the puzzle of phrases into pieces, we can reason philosophically. For example, why the author used a certain form or texture in the main semantic block. This is how we reveal the composer's intention. What the author expressed regarding the musical topic he touched upon. The recipient always has some freedom of interpretation. Sometimes the author's talent creates unconsciously and this is also magic.
🎹 Piano Program – Year 1 (Beginner Level)
Like an a example to understand principles
-
Basics of Playing- Proper posture, relaxed hands
- Five-finger positions (C–G, D–A, etc.)
- Simple finger exercises for evenness
- Introduction of legato and staccato
- Dynamics: piano, forte
-
Music Theory- Treble clef, notes of the first octave
- Note values: whole, half, quarter, eighth
- Time signatures: 2/4, 3/4, 4/4
- Rhythm practice (clapping, tapping on the piano lid)
- Intervals: unison, second, third
- Basic chords: C and G
-
Repertoire (simplified modern melodies, individually adapted)🎶 Cartoons & Popular Tunes- “Twinkle, Twinkle, Little Star” → replaced by “Let It Go” (Frozen) by the end of the year
- “Baby Shark” (rhythm + melody)
- “Happy Birthday” (a must-learn!)
🎶 Modern Songs (simplified)- “Believer” (Imagine Dragons) — rhythmic motif
- “Shape of You” (Ed Sheeran) — bass line: C–Am–F–G
- “Someone Like You” (Adele) — verse with chords
🎶 Ukrainian Songs- “Stefania” (Kalush Orchestra, simple melody)
- “Chervona Ruta” (melody + chords)
🎶 Soundtracks- “Hedwig’s Theme” (Harry Potter, intro only)
- “We Don’t Talk About Bruno” (Encanto, shortened version)
-
Ear Training- Singing back simple melodies
- High–low, loud–soft games
- Short dictations (2 bars, 2–3 notes)
- Playing familiar songs by ear (e.g., “Happy Birthday”)
-
Music Theory- Treble clef, notes of the first octave.
- Note values: whole, half, quarter, eighth.
- Time signatures: 2/4, 3/4, 4/4.
- Rhythm practice (clapping, tapping on the piano lid).
- Intervals: unison, second, third.
- Basic chords: C and G.
-
End-of-Year GoalsThe student should be able to:- Play several songs by memory (2–3 modern, 1–2 classical).
- Read simple notes (treble and bass clef, 5 notes up/down from Middle C).
- Play C major scale hands together; recognize fingering through muscle memory.
- Play basic intervals and chords in the left hand (C, G, Am, F).
- Recognize by ear: loud/soft, high/low, major/minor (musical emotions).
The desire to engage will depend on the rationality of using the wave of your natural interest.
That is why it is so important to determine the true expectations of your heart from music lessons and to go to it the shortest way.
Examples of such goals can be:
That is why it is so important to determine the true expectations of your heart from music lessons and to go to it the shortest way.
Examples of such goals can be:
Sometimes a melody plays in our memory. We can't explain why we like this particular tune. Over the years of working on my favorite melodies, I have come to believe that sometimes they are able to give us answers to some internal transcendental questions. That is why they resonate in our heart. It is in the process of reproduction that the magic happens, because the performance of the piece is a somewhat meditative process.
There is good news - at any level of your skill, you can play your favorite melody.
How it works:
If you come for the first time and have never played then you can memorize five or twenty keystroke sequences. It will be the chorus of your favorite song. You will like it and then we will attach the necessary theoretical, notational knowledge to improve the melody.
There is good news - at any level of your skill, you can play your favorite melody.
How it works:
If you come for the first time and have never played then you can memorize five or twenty keystroke sequences. It will be the chorus of your favorite song. You will like it and then we will attach the necessary theoretical, notational knowledge to improve the melody.
Brain work and musical performance have a common brain work principle:
The brain thinks in layers, for example:
I breathe, I move in space, I read a newspaper, I plan a meeting and topics for conversation ....
Likewise in music:
The melody is like a skeleton on which we will add the necessary layers, such as:
basic level -
auditory perception;
hearing control;
visual control of orientation in the notes you perform;
changing the position of the hands;
rhythmic understanding;
rhythmic control;
emotional response;
next -
understanding the meaning of the melody;
understanding the hierarchy of sounds according to meaning;
understanding and reproduction of phrasing logic;
understanding and reproduction of hand mechanics;
understanding and reproduction of the mechanics of the instrument;
next -
harmonic analysis;
pitch;
dynamic analysis;
analysis of short phrases;
part analysis;
analysis of the whole work;
next -
meaningful analysis of phrases, parts, works according to previous analyses;
historical slice:
text load;
anagogical - philosophical content of the work and individual parts and phrases.
My brain is an opportunity to get pumped. And guided by the interest of playing music, he is able to learn to play the multi-layered process. Therefore, after that, the brain will gladly agree to work at lower capacities in any spheres of life
The brain thinks in layers, for example:
I breathe, I move in space, I read a newspaper, I plan a meeting and topics for conversation ....
Likewise in music:
The melody is like a skeleton on which we will add the necessary layers, such as:
basic level -
auditory perception;
hearing control;
visual control of orientation in the notes you perform;
changing the position of the hands;
rhythmic understanding;
rhythmic control;
emotional response;
next -
understanding the meaning of the melody;
understanding the hierarchy of sounds according to meaning;
understanding and reproduction of phrasing logic;
understanding and reproduction of hand mechanics;
understanding and reproduction of the mechanics of the instrument;
next -
harmonic analysis;
pitch;
dynamic analysis;
analysis of short phrases;
part analysis;
analysis of the whole work;
next -
meaningful analysis of phrases, parts, works according to previous analyses;
historical slice:
text load;
anagogical - philosophical content of the work and individual parts and phrases.
My brain is an opportunity to get pumped. And guided by the interest of playing music, he is able to learn to play the multi-layered process. Therefore, after that, the brain will gladly agree to work at lower capacities in any spheres of life
This format of work is unique in that it easily disciplines. Stimulates is in a state of enthusiasm in work. We can see the results of our work and therefore remain satisfied with them.
A sense of adrenaline is necessary to maintain interest in any field. The performance video has a similar but slightly softer principle as the concert. This contributes to the organization of the student's classes. Seeing one's performance from the outside leads to positive results:
- a sense of reproduction of a real rhythm; a vision of how logical the attitude and use of time are;
- understanding the picture of one's performance in general, which produces an initiative to improve one's performance or skills
A sense of adrenaline is necessary to maintain interest in any field. The performance video has a similar but slightly softer principle as the concert. This contributes to the organization of the student's classes. Seeing one's performance from the outside leads to positive results:
- a sense of reproduction of a real rhythm; a vision of how logical the attitude and use of time are;
- understanding the picture of one's performance in general, which produces an initiative to improve one's performance or skills
Our life depends on a number of relationships with people and with ourselves (family, work, friendship). Sometimes, by expressing our emotions, we can offend or anger a person or ourselves. Expressing emotions in music, we bring them out of ourselves, and do not accumulate them. We select music that will respond to your feelings
This is how friendship and support begins on a subtle level. We always hear when we played correctly. Therefore, we easily come to understand how we must interact to get results. This creates a sincere desire to help and support your partner. This is how we learn to negotiate. This is how we learn to make plans and carry them out. The right instructions and balance of interaction will help you follow the path of enthusiasm.
I need this state to take a break from daily thoughts. Sometimes playing music gives me new ideas, new ways of thinking. The state of meditation brings us to the peace that we are always looking for, to which we aspire. This state is special when we see everything around through love for the world around us, for all the relationships in our life. When we accept the world as it is, then we feel the truth. We accept the truth and do not distort the world with our illusions in the state of this peace. This is when we already know the work well enough and only contemplate its performance in order to understand what else we could add or so that we can correct it.
Analyzing a piece of music, we have the right to saturate black and white notes with meanings. Our consciousness does not know the limits of the scale of imagination. This happens naturally when our consciousness responds with imagination to a musical element. Previously, you have already formed a generally accepted understanding of the musical language. Therefore, our imagination is not divorced from the truth, and reading the composer's intention, we have the right to equip musical thoughts with any colors. It can be not only paints. The modern art world uses three 3D graphics, its effects, fire, water, any characters, sounds, 4D system. All this is possible to tie into our imagination during the execution. From which the quality and significance of meanings will be enhanced.
From the very first lessons, even kids learn to understand the language of intonation in music. Musical figures correspond to the intonation of the human voice, as if imitating speech. Based on this, we can create a musical sequence that matches the mood, the idea. It's fun to layer musical textures and touches on this base. Build a plan for expressing an idea at a high level. Sometimes music leads you too and it's magic
- Don’t hold them back, but guide them
- • If a student can already pick out melodies by ear, this should be developed, not “leveled down” to others.
- • Give them creative tasks: improvise on a theme, change the harmony of a familiar melody, invent a variation.
- Balance between ear and notation
- • Many such students dislike reading music because it feels “slower” than using their ear. The modern approach is not to stop their ear completely, but to combine both:
- • Assign: “Play it by ear, then let’s check the score and find the differences.”
- • Or: “Play it by ear, then try to write it down in notation.”
- Use technology
- • Modern methods: programs like Sibelius, MuseScore, Flat.io for independent transcription.
- • Apps for ear and rhythm training (Tenuto, EarMaster, Complete Music Reading Trainer). This gives them a challenge in their own style — through a gadget, not a “dry textbook.”
- Give them the role of researcher
- • Let the student have a “mission”: analyze a favorite song from the radio, write down the chords, and share it with the class. This gives their talent meaning and practical value.
- Develop harmony and rhythm
- • Often children with extraordinary ears “get stuck” with rhythm or deeper understanding of harmony. This is your chance to strengthen what doesn’t come as easily to them.
- • Modern approach: body percussion, rhythm games, working with metronome apps, beatboxing — to build a stronger sense of pulse.
- Tasks for the future
- • These students lose interest quickly if everything is too easy. It’s important to give them a challenge — not in the form of dry etudes, but as a task: “create an accompaniment,” “make your own version of a song,” “record a track.”
✨ Modern pedagogy suggests not to “slow down” such students, but to create an individual trajectory: ear + notation + improvisation + technology. This way their talent doesn’t “burn out,” but unfolds.
It is necessary to choose a visual aid that is appropriate for the topic and audience.
Each type of visual aid has pros and cons that must be evaluated to ensure it will be beneficial to the overall presentation. Before incorporating visual aids into speeches, the speaker should understand that if used incorrectly, the visual will not be an aid, but a distraction.
Planning ahead is important when using visual aids. It is necessary to choose a visual aid that is appropriate for the material and audience. The purpose of the visual aid is to enhance the presentation. Each type of visual aid has pros and cons that must be evaluated to ensure it will be beneficial to the overall presentation. Before incorporating visual aids into speeches, the speaker should understand that if used incorrectly, the visual will not be an aid, but a distraction. Planning ahead is important when using visual aids. It is necessary to choose a visual aid that is appropriate for the material and audience. The purpose of the visual aid is to enhance the presentation.
Planning ahead is important when using visual aids. It is necessary to choose a visual aid that is appropriate for the material and audience. The purpose of the visual aid is to enhance the presentation. Each type of visual aid has pros and cons that must be evaluated to ensure it will be beneficial to the overall presentation. Before incorporating visual aids into speeches, the speaker should understand that if used incorrectly, the visual will not be an aid, but a distraction. Planning ahead is important when using visual aids. It is necessary to choose a visual aid that is appropriate for the material and audience. The purpose of the visual aid is to enhance the presentation.
The result of the academic school where I was trained was diplomas and competition victories. That system taught me discipline, diligence, and gave me a solid foundation. But over time, I also began to see its limitations. Competitions often depend on the subjective opinions of the jury, and preparation for them sometimes becomes an industry of its own. For me, it gradually became clear that the true value of music education is revealed in other ways.
European standards confirmed my view: what matters most are creative projects and the real benefit for students—their growth and personal discoveries. That is why I see the results of my work not in diplomas, but in the unique success stories of each student.
For example, one of my students, with whom I worked from age 3 to 14. She was a very challenging child, but in the end became a smart and determined young person. At her graduation exam, she performed a program of four pieces and received the highest grade. A few months later she called me herself and asked to continue lessons privately. For me, this shows that in 11 years I never extinguished her interest in music—on the contrary, I helped her keep it alive.
Another important experience was my video project, for which I was nominated as a “Top Category Teacher.” Children shared the images that came to them while they were playing, and I visualized their music in real time through a projector. This turned the concert into a living artistic performance.
I also organized an experimental concert for very young students, ages 3 to 7. It was their very first time on stage. They had to walk out and announce what they were going to play. In lessons they were often restless, hard to manage, even hyperactive. Yet on stage they surprised me: they were focused, without any fear. The 7-year-olds already performed with confidence, and those who started playing on stage at 3–4 years old developed an easy, natural association with performing. I am proud of this discovery and grateful to the parents for their trust and support—their love inspires me to keep moving forward.
Sometimes my role is to help a student find their own unique path in music. For example, one 7-year-old boy struggled for a long time to play with both hands at once, no matter how hard he tried. But he played one musical line beautifully, singing it with a pure and expressive voice. I suggested he move to vocal studies instead. Today, he is winning diplomas in academic singing competitions!
I believe students come to me for a reason. Each case is unique, and my task is to help reveal what is truly inside the child. Sometimes this requires honesty and the courage to go beyond expectations, but that is how something genuine is born. Some of my students age from 3 years to 70 years old
European standards confirmed my view: what matters most are creative projects and the real benefit for students—their growth and personal discoveries. That is why I see the results of my work not in diplomas, but in the unique success stories of each student.
For example, one of my students, with whom I worked from age 3 to 14. She was a very challenging child, but in the end became a smart and determined young person. At her graduation exam, she performed a program of four pieces and received the highest grade. A few months later she called me herself and asked to continue lessons privately. For me, this shows that in 11 years I never extinguished her interest in music—on the contrary, I helped her keep it alive.
Another important experience was my video project, for which I was nominated as a “Top Category Teacher.” Children shared the images that came to them while they were playing, and I visualized their music in real time through a projector. This turned the concert into a living artistic performance.
I also organized an experimental concert for very young students, ages 3 to 7. It was their very first time on stage. They had to walk out and announce what they were going to play. In lessons they were often restless, hard to manage, even hyperactive. Yet on stage they surprised me: they were focused, without any fear. The 7-year-olds already performed with confidence, and those who started playing on stage at 3–4 years old developed an easy, natural association with performing. I am proud of this discovery and grateful to the parents for their trust and support—their love inspires me to keep moving forward.
Sometimes my role is to help a student find their own unique path in music. For example, one 7-year-old boy struggled for a long time to play with both hands at once, no matter how hard he tried. But he played one musical line beautifully, singing it with a pure and expressive voice. I suggested he move to vocal studies instead. Today, he is winning diplomas in academic singing competitions!
I believe students come to me for a reason. Each case is unique, and my task is to help reveal what is truly inside the child. Sometimes this requires honesty and the courage to go beyond expectations, but that is how something genuine is born. Some of my students age from 3 years to 70 years old
- Sonia started at the age of 3 years
- Olya started at the age of 3 years
- Dasha started at the age of 27 years
- Ron started at the age of 70 years
- Bogdan started at the age of 3 years
- Margorita started at the age of 30 years
- Dasha started at the age of 6 years
- Elionora started at the age of 4 years
- Sofia started at the age of 4 years
- Ivan started at the age of 8 years and his sister Daria was starting at 6
- Ivan started at the age of 13 years
- Sasha started at the age of 3 yers
- Polina started at the age of 4 years
- Notaniel started at the age of 5 years
- Anabel started at the age of 5 years
- Angelina started at the age of 8 years
- Nazar started at the age of 9 years
- Skye started at the age of 12 years
- Andrey started at the age of 7 years
- Arbert started at the age of 5 years
- Bogdan started at the age of 12 years
- David started at the age of 4 years
- Alisa started at the age of 9 years
- Lana started at the age of 2 years
- Sonya started at the age of 5 years
- Emiliya started at the age of 3 years
- VladichickGet started at the 4 years old
- And more
| Kievan piano school My education is Kiev college piano and Kiev music conservatory, teacher was Olga Onishenko, she is a student Olga Holodna and Olga Holodna students of Heinrich Neuhaus, famous concerts pianist and talented piano teacher. This knowledge is accumulated and passed down from generation to generation. My students inherit the knowledge I have accumulated from my teachers |
According to European standards, I have passed accreditation to obtain the highest level of teaching
Every time I come up with a new method of explanation I feel like I'm making the world a better place
How to maintain rhythm, how to play a fast passage, how to make a melody expressive. I am a set of such methods. I remember that I was inspired by such challenges as finding a method to help others develop a skill. It fascinated and inspired me. Now I operate between knowledge of how attention, brain, memory, coordination, mental memory, student effort management in time, technique, speed, sense of rhythm, imagination, interest in music, how these elements interact
One of the characteristics of teaching
No course or general education program will take you along the path of the music of your heart. Except when your goal is to outperform other students. Therefore, individual activities in order to follow the desire of your heart and individual abilities
Performing on stage is just like swimming
You may have heard that an infant can swim and if he does it in time, he will not be afraid of water. The same analogy is with performing on stage. My practice has shown that unforced performances for children 3-6 years old do not cause fear in them, but rather enthusiasm. In the future, the children were calm about performing not only on the piano, but also in public speaking
Conect
USA north Cambrige MA
pianoalen06@gmail.com
+1 740 707 38 35 Monday-Friday
11am-7pm
WhatsApp +380631527979
11am-7pm
WhatsApp +380631527979
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