我的教法跟大部分老師不同的地方是，對於幼齡初學鋼琴課是從「聽音樂」和「單隻手指頭獨立的練習」開始。
📌為什麼是從單隻手指頭開始訓練呢？
在真正學習 視譜 和 彈奏 之前，我要先教會孩子們如何正確的運用手臂、手腕、和手指頭。
我最剛開始教琴的時候，課本買來直接教學生認譜，然後手直接上來彈。邊認譜，雙手邊認琴鍵和音，甚至有時候會在琴鍵上貼上音名，好讓學生練習對應的鍵。但學生一直存在幾個問題：
🩵第一是，幼小的孩童容易施力不對，導致折指，折指會導致音色會比較尖銳吵雜，因為指頭面積接觸琴鍵較大，力道控制跟手指接觸琴鍵面積很有關係，但跟幼齡的初學者講述面積的理論不實際，孩童們不理解面積接觸導致音色粗糙的關係。
🩵第二是，通常視譜和彈奏一起放在初學階段時，就算是一個大人一邊視譜一邊彈，眼睛和手的併用也會花上很大的力氣。顧上了視譜，但手彈不來正確的姿勢和發力，導致音色粗糙；又或是，顧上了手部運用，但顧不上讀譜的速度，所以最後為了聽起來一致，索性把曲子硬背起來彈，至少速度聽起來一致，不然眼睛和手的速度不同，彈起來聽起來七零八落，是很吃力的過程。
📌所以有別於傳統教學法，我的第一步是先發展手部的運用和單隻手指頭的獨立訓練。
當然，這不是沒目的的盲練單根指頭。通常在這一步時，我會邀請學生聽大量的音樂。透過學生家長的參與，在家創造出讓孩子可以沈浸在音樂的氛圍中，把音樂當背景音樂播放，在這樣的音樂耳濡目染下，孩子的耳朵能分辨出「好聽」與「不好聽」的音色。
就算只有一隻手指頭，能彈出來不同的聲響。透過這個過程學生引導學生「什麼樣的音色是他覺得好聽、漂亮的」。
我教學的重點在於引導，引導學生分辨出音色的差別。就像在幼齡階段學習認顏色一樣，如何引導一個寶寶，帶他認識這個世界有這麼多不同的色彩。
My teaching method differs from most other teachers, especially for young beginners. For early-age piano students, I start with "listening to music" and "individual finger exercises."
📌 Why begin with individual finger training?
Before students truly learn to read music and play, I teach them how to use their arms, wrists, and fingers properly.
When I first started teaching, I used to buy books, teach students to read music and have them begin playing right away. They would simultaneously learn to read music and identify keys with both hands, sometimes even using stickers on the keys to help match the notes. However, I quickly noticed a few issues with this method:
🩵First, young children often apply incorrect force, leading to "collapsed fingers." Collapsed fingers produce a sharp, unpleasant sound because more finger surface area contacts the keys. The sound quality heavily depends on how much the finger touches the key. However, explaining the concept of surface area to young children is impractical, as they don't understand how it affects the sound.
🩵 Second, when sight-reading and playing are introduced at the same time in the early stages, it becomes overwhelming—even for adults—to manage both. Focusing on reading music often compromises correct hand positioning and proper use of force, leading to rough sound.
On the other hand, reading the music quickly enough becomes challenging if the focus is on hand movements. As a result, some students resort to memorizing the piece to play at a consistent tempo because their eyes and hands can only keep up at a different speed, making it a frustrating process.
📌 So, unlike traditional methods, my first step is to develop hand coordination and individual finger training.
Of course, this isn't just random finger exercises. During this stage, I introduce students to a variety of music. With the involvement of parents, we create an environment at home where the child is immersed in music, playing it as background music. Through this exposure, the child's ears distinguish between "pleasant" and "unpleasant" tones.
Even with just one finger, a child can produce different sounds. Through this process, I guide students to discover what kinds of sounds they find beautiful and pleasant.
The core of my teaching is guidance—helping students identify differences in tone, much like how we guide young children in recognizing colors. Just as we teach babies to see the many shades and colors in the world, I guide them to identify the rich variety of sounds in music.
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