Chances are you love being a singing teacher.

You love sharing, helping, watching your students grow.

And for the most part, you feel you’ve got something valuable to offer.

But every now and then, you hit a problem:

A melody you’d love to break down—if only you could play it.

A song accompaniment you wish you could just sit down and do.

A student walks in with a chart—expecting you to play.

Or asks to try it in another key.

A job you’d love to go for… if only piano wasn’t part of the brief.

A parent with expectations that don’t quite fit who you are.

Technical things you’d love to tweak—show them how to do sing it better.

Maybe you’ve tried learning piano

Had some lessons, watched a few videos, perhaps signed up for a 10-week “piano course.”

And been quite dismayed at the long road ahead.

It seems like a LOT of practice. Never-ending practice, too.

And you don’t really have the time to devote to pure piano — or, if you’re honest, the enthusiasm. After all, you’re a singer!

Or maybe you’ve simply never had the opportunity. You’d loveto get going but you’re not sure where to start.

And this is the problem with the legacy is huge — classical repertoire, jazz improv, latin grooves. And that’s before we’ve got to the keyboard!

Th good news is you don’t need it all. And infact advanced piano can actually get in the way of teaching singing well.

Which is why standard piano lessons don’t always specifically help singing teachers. Why piano lessons don’t always help singing teachers

Because, funnily enough — piano lessons teach you how to be a pianist. Shocker

Meaning learning repertoire, making a beauftul sound, reading.

Excellent if you are in for the long haul of piano.

But for many singing teachers piano is not a priority. And actually they are not wanting piano as such — they are wanting to help their students sing better.

Because although you do get the student who loves singing with live piano — ultimately , they want to be a better singer — and you to help them with that. Flashy piano can get in the way.

You are learning piano for singing — which is different in itself

And it gets even more specialised: you need piano for teaching singing.

So singing teachers actually need 3 things from the piano:

• the ability to xxx

• and xxx

• they also — because

• the payoff is of course the obvious stuff — and that’s very nice

• but in my experience

• All teh singing teachers I

• they also have a uniuq way of crossong the — thinking abut singing.

• you coudl think of it as a

• your unique methodology

• And it’s a good thing to have

• because it can genuinely help someone struggling with tehir singing — who will fall on you with joy

• So in these days of nt just the only singing teacher

• Future proof your singing teaching

Because you are not actually learning piano in the traditional sense! (Very close obviously)

• you don’t need to be concert pianist worth — strong piano skills can actualy get in the way

• you need 2 things — the ability to loistne

• we help you figure the 2nd in our piano decoder + plan

• And then we heklp you get the 1st — challenges, micro videos,

• and while we at it we assume 3 things

• as much as possible as you actually reach

The most important thing you need is to play and listen to your students —

• Which means piano needs to be literally under your finders . Instinctive.

• And the other good news it doesn’t need to be complicated . Unless you’re specialised (see other course). Your singing students want to sing better. They are not interested in virosoc piano playing etc (and actually it can get in the way)

Standard piano will lessons -big surprise! - teach you how to play the piano.

Whic means: learning pieces, working up a nice touch, understanding notes, perhaps some chords and improv too

Okay —that sounds good but I need this right?

Yes and no. Depends if you are in piano for the long haul.

Piano lessons and piano courses teach you to be a pianist. 

Wonderful if you’re in for the long haul of learning piano.

Singing teachers need two things from their piano:

1) The ability to play and genuinely listen to their student

2) The collection of piano skills that support their singing teaching methodology and student type.

So if your focus is teaching singing or coaching vocals – some of the piano stuff covered in straightfoward piano lessons aren’t always necessary.

And can instead by a distraction.

Learning “3 Blind Mice” doesn’t feel that relevant to a singing teacher with a hefty schedule

I’ve worked alongside and taught enough singing teachers to know we are all different, but the common ground is we all care about our students. 

So it’s super exciting how our world is no longer just about being the “only singing teacher in the village” –we can genuinely delve deep into our specialist area. 

Piano for Singing Teachers 1 teaches you to be a more individual, nuanced singing teacher—using piano as a teaching tool.

It’s not about piano grades. And it’s definitely not about playing Chopin. 

It’s about getting the piano you need for your teaching… both current and in the future.

• to build trust and rapport with your students.

• draw out the best from your 1:1 sessions and workshops.

• open yourself to the career advantages of having professional piano for teaching singing.

What you could learn in Singing Lesson-Ready Piano

The stuff they need to make this happen…

#1 A Pianistic Finish

—How to play piano pianistically and musicially so you don’t

—Play musically yet simply — your singing teaching ears will be frustrated at producing plonky, amateur sounding piano. You don’t need to play anything fastm impressive or compicated — you just need

—How to use the pedal — and when not to use the pedal

• Gain a Pianist Touch

#2 Vocal Warm Ups

• How to play a variety of vocal warm ups patterns under the fingers

• How to understand voice types on the piano and where to play to support range

• Have a contrasting set of LH patterns

• Use the piano to be spontaneous and flexibkle with vocal warm ups — have he flexibiklity to slow it down, shift keys, accomodate teh quiet songer energise the sleepy class, lead with authroity with the suspicious large, settle down teh char-tty evening class. All these toles become easier with a piano on your side

• How to play the standard vocal warm-ups in every key — without losing your place or momentum mid-exercise.

• How to create warm-ups that match your student’s voice and goals — so you’re not stuck using the same scale over and over.

  —How to play every warm-up for any voice type, in any key, without stopping — so lessons flow and students stay focused.

  —How to personalise technical exercises to suit your student — and develop your own teaching approach as a result.

  —How to use the piano to energise, focus or

Legimately include piano on your CV

• Problem solve

• Have a variety of

• Be open to

• have a powerf

• not wear your singing and speaking voive

• increase musiciahip skills that don’t also crodss the path os a singer as itys nit a priority — ballabce your skill anf musicship —

and then

#3 Song Interpretation & Delivery

• The ability to embellish — give yiur students an invaluable making music live listening experience — this is critical for singers withut a musicianship background who have learnt by copying, Oneof those hidden diffientiaters

• A small set of patterns — to draw out dynamics, energy and flow — help your student sdeliver their song story

• How to play authentic sounding as-good-as-the-realthing if not better pop style song accompaniments

#3 Reading Sheet Music & Chord Charts

• How to play from popular style song charts at a glance

• How to play chords in all keys with voicings to supprt teh singing voice

• How to

#4 Teaching Melody & Matching Pitch

• How to be able to pick out the melody and teach slowly — and be prepared to shift keys

• ff

• ff

#5 Singing Teachers Piano

• How to develop the ability to play and listen to yoru student at the same same

• Protect their own singing and speaking voice — an dthat incldues the body postureSave your singing voice and speaking voice for important events

• A process for progress — during busy weeks when you just dont have time to think. Practice as you teach

• No fuss switch between keys — chords for songs, exercises,

• Having options for problem solving during lessons.

• And be quietly assured about the balance of tracks, voice demo and piano— probably instinctive — but not a bad question to reflect on. This allows you to differentiate between yourself and other singing teachers — whicg is one imprtant peg in teh being reffered slot.

#6 Career

• Understand clearly what they offer on teh piano and the implications for students, heads of departmets and parents

• Not get brain clutter — feel overwhelemd by all the possibilities of the legacy of the piano. Get very clear on what they need to support their singing students - bith current and future — and have made decisons aboyt what they are cheerfully saying no to learning. Helps the hiring in decison much easier . And the job application process.

• Piano Confidence. Happy to play in front f parents, students, fellow teaching pedagogues , even the internet if that’s your bag,

Your singing may be overwhelming , intimitating

#4 Chords

The foundation of commercial style playing.

#5

The foundation of commercial style playing.

#6 A balanced teaching offer

Confidence comes with knowing our doing and the experience of having done it

#7 Flexible Vocal Warm Ups

#8 Professional Expertise Short cuts Signals

Use the piano to be spontaneous and flexibkle with vocal warm ups — have he flexibiklity to slow it down, shift keys, accomodate teh quiet songer energise the sleepy class, lead with authroity with the suspicious large, settle down teh char-tty evening class. All these toles become easier with a piano on your side. Whereas there can — everyone recognises the skills gap

#9 Get claer on Professional boundaroes

The world of music and the legacy of piano is huge. Feel confident about what you bring

Get the piano for your actual singing teaching needs (not generic piano methods). \

bed piano practice into your real teaching week.

Em Enjoy it — not a time-consuming chore

8-week online piano accelerator for time-strapped singing teachers and vocal coaches who teach pop, and musical theatre styles — and want to feel confident at the piano.

Just practical, enjoyable piano training — taught by an expert who understands singing teachers (not a pianist guessing what you need

Learn to play read melodies, accompany songs, and handle mid-lesson hiccups with ease.

— break down melody

—effortless switching of keys

—

03. Not having to practice up song charts

—understanding chords and feel

—getting a commercial styles rhythm and groove

—

04. make musical song accompaniment s— nit plonky fot pop ballad

—

—

—

05. Feel like you c

06. Feel confidence in what you bring and what you don’t bring

—

1. Personalised and standard Vocal warm ups

2. song accompaniment — xpatterns, chords,

3. Teaching melody + matching pictch

4. Authentic Styles

5. Rhythm

6. No thinl song charts

7. Not imposter

8. Help your student ssing better

9. Stay relevant and up to daye

10. Career — draw out your methododloy

1. Vocal Warm Ups

✓How to read and play simple melody lines confidently — even if notation feels intimidating.

✓How to break down melodies for pitch and phrasing work using the “Melody Skeleton” method.

✓How to switch keys on the spot when your student needs it (with calm, competence, and flair).

Access vocal warm ups — all the standard ones plus a few more, and to be flexible enough to switch them up as needed in that moment — to energise, to access body work and tap into creative ideas

Personalise vocal warm ups to bring out phrasing styles and help them develop their artistry and aesthetic

2. No-prep Song Charts

✓How to read and play simple melody lines confidently — even if notation feels intimidating.

✓How to break down melodies for pitch and phrasing work using the “Melody Skeleton” method.

✓How to switch keys on the spot when your student needs it (with calm, competence, and flair).

3. Teaching Melody

✓How to read and play simple melody lines confidently — even if notation feels intimidating.

✓How to break down melodies for pitch and phrasing work using the “Melody Skeleton” method.

✓How to switch keys on the spot when your student needs it (with calm, competence, and flair).

Slowly breakdown that tricky melody helping the student match pitch and get in the middle of the note

4. Help your student sing better

✓How to read and play simple melody lines confidently — even if notation feels intimidating.

✓How to break down melodies for pitch and phrasing work using the “Melody Skeleton” method.

✓How to switch keys on the spot when your student needs it (with calm, competence, and flair).

Help the student experiment with different keys, dynamics and tempos for their songs

Help students prep for live performance, auditions and masterclasses

5. Teaching Melody

✓How to read and play simple melody lines confidently — even if notation feels intimidating.

✓How to break down melodies for pitch and phrasing work using the “Melody Skeleton” method.

✓How to switch keys on the spot when your student needs it (with calm, competence, and flair).

Accompany singing students in a broad range of styles from simple chord sheets

6. Career Confidence

✓How to read and play simple melody lines confidently — even if notation feels intimidating.

✓How to break down melodies for pitch and phrasing work using the “Melody Skeleton” method.

✓How to switch keys on the spot when your student needs it (with calm, competence, and flair).

Single-handedly run large group rehearsals

@Bluthner Piano Studios

✦ How it works

works under the assumption

1. Piano isn’t a priority

2. Even if you were piano enthusiastic — time is limited

3. you are not interested in anything other teh paino that will support your teaching

4. You’re not interested in piano philosopy — all thsi may come later — but for now you just need to work on piano for your singing teaching

5. 8 Challenges — flexible to be tweaked — not a 1-size fits all. (The piano decoder helps here)

6. A weekly ‘ireal life singing teaching test — this is not about you learning to play pretty — we are interested in friction of teh lesson — people watching.

7. Any checklists, micro video s- are short and easily digestible.

8. Making mistaks is okay!

!. fill in the decodr

Decide a piframework for — variations on teh 8 challenges

recieve a weekly emial with video , any checklists—

Questions are fine (sometimes I video oe back)

Send a video

Attention is paid

The goal is simple, accurate and MUSICAL playing taht you do intutively — as you focus on your student Being able to cope wwith and respond to different energies , different personalities as they come to you. Have a powerful professional teaching tool to support your voice demos — so you are bot shattered at teh end of a day teaching because — conserve your speaking voice and by exctention toue teaching voice Have anon-threathening teaching tool. Avoid the comparison trick — intimlateing, off putting for teh studnet who doesnt dig waht tyou do Or you simply want to rest uour voicel

Piano for Singing Teachers works off  3 assumptions:

1. Piano isn’t your main priority

2. You haven’t stacks of free time to practice

3. You’re interested in improving your teaching offer, and using piano as a tool 

Sign up

1. Fill in the Piano Personality Decoder — how you work best

2. Fine tune your Piano Plan — 3 piano goals for teaching singingWe use teaching tools based around your learning style – checklists, frameworks, pure video, short challenges

3. 8 Weekly Challenges —sent via WhatsApp or email. aiming to embed your piano practice in your teaching schedule as realistically as possible

4. Weekly Video Feedback —Regular feedback via WhatsApp or email.

5. Nothing overwhelming, and we go at your pace and fit around your schedule. 

HOW IT WORKS

✦ Step 2: The Weekly Challenges

01. Pop Pattern Lock in

Get going immediately with this go-to pattern for pop songs. Develop a pleasing musical finish to your piano playing — we go with a simple yet musical approach. Complicated piano isn’t the end goal, and not always necessary.

• Develop an pianistic touch that removes the amateur plonk from your piano playing and allows a supportive style for your students

• Go-to lyrical pop pattern for ballads, classic and contemporary pop song. If you only ever learn one pattern, let it be this

• Go-to Pop Pattern — if you only learn ONE pattern for song accompaniment, let it be this

• Apply immediately to your current teaching studio pop repertoire and try out in lessons.

• Develop a nice sound — so you are more likely to get pleasure from sitting down to play and not feel as though you are a musical typist. Pressing button.

Go-to Lyrical Pop Pattern. Concert Pianist Hands. Magnetic Hands. Singing Teacher’s Hands for Piano

02. Keyboard & Chords

Solve the mystery of chords and get fearless in all keys to develop a confidence at the piano keyboard and open up pop songs in any key — chord charts suddenly feel a lot more doable.

Triad Training.

• Challenge —

08. Rehearsals, Workshops &

Get the classic vocal technique exercise patterns in all keys, for all voice types. AND lock into a consitent rhythmic time.

• How to play vocal warm-ups in every key — without losing your place or momentum mid-exercise.

• How to create warm-ups that match your student’s voice and goals — so you’re not stuck using the same scale over and over.

• How to play every warm-up for any voice type, in any key, without stopping — so lessons flow and students stay focused.

• How to play every warm-up for any voice type, in any key — without stopping or losing your place.

• How to create warm-ups that match your student’s voice and goals (no more generic scales).

• How to energise or focus a group using piano touch, tempo, and key choice.

• How to make warm-ups sound genuinely musical (not robotic), so students actually enjoy them.

• How to embed your warm-up practice into your teaching, so it’s real-world and time-efficient.
  Magnetic Hands.

How to accompany pop and musical theatre songs in a way that sounds musical, expressive, and polished.

• Why you don’t need to practise full songs before every lesson — and what to do instead to feel ready in five minutes.

• How to personalise technical exercises to suit your student — and develop your own teaching approach as a result.

• How to use a simple “bouncing bass” technique to energise disengaged singers and drive a warm up.

• How to lead a children’s singing class from the piano — even if you’re not confident and usually avoid it.

• How to tell if a piece of sheet music is usable or not — and what to ask for when looking online.

• How to keep playing through a song — even when things go wrong — so you stay calm and sound in control.

• How to play every warm-up for any voice type, in any key, without stopping — so lessons flow and students stay focused.

• How to play from a chord chart — even if you’ve never played the song before — using basic triads and simple rhythm patterns.

• How to read melody lines and lead sheets well enough to teach from them with confidence.

• How to create warm-ups that match your student’s voice and goals — so you’re not stuck using the same scale over and over.

• How to read from lead sheets or simple vocal scores without panicking or losing your place — so you can teach the melody clearly.

• How to use piano phrasing to help your student sing more expressively — adding shape, drama, and musicality.

• How to teach the melody accurately — whether it’s from sheet music or by ear — using our “Melody Skeleton” method to break it down.

• How to play two-handed accompaniment patterns with flow and confidence — using easy rhythm and bass tools to stay on track.

• How to stop sounding plonky — and start playing with the kind of musical finish that reflects your level of vocal expertise. 

• How to play for long teaching days (or performances) without wrecking YOUR singing voice. 

• How to feel calm, capable, and musical at the piano — even if you’ve avoided playing for years. Using the “Short Loop” system, 15 minutes a day is enough to make real progress.

• How to embed piano practice in your day-to-day teaching so you make regular progress at piano skills relevant to your career direction so you don’t get overwhelmed by practice and trying to ‘remember’. 

• How to use the piano to extend your teaching studio or career opportunity – with practical help in showcasing this to the wider world

• How to personalise technical exercises to suit your student — and develop your own teaching approach as a result.

01. Personal vocal warm ups to their baees

The claasic vocal technique patterns in all keys, for all vice types.

Finding the key to a song

helping them draw out song story

Help your students sing better

About me

Hello, I’m Elizabeth and I use the piano for singing every day. I know exactly what you need from the piano for teaching—and, most importantly, what you can leave out. I was fortunate to grow up with classical musician parents. Cello and choral music were part of my childhood, and I don’t remember learning to read music. But let me tell you, it took a very long time to cross over to chord interpretation, improv, and rhythm-section playing in commercial groove styles. Now I couldn’t imagine teaching without drawing on both classical and commercial styles.

I’ve been using the piano to teach singing for a long time, but it took a while to get the balance right and use it as a professional tool. I’ve misjudged it many times! I’ve overplayed, got distracted by cleverness, stopped focusing on the student. And then—because my energy was wrong or the rapport was missing—the student wasn’t served or supported as they should have been, undermining the whole point of the lesson.

Playing piano for teaching is NOT about piano excellence. Piano for Singing Teachers has grown out of 1-to-1 lessons, professional workshops, Saturday morning classes, residential courses, summer schools. First Lecturer in Music post came at age 22. I taught for 25+ years in London, including: Visiting Lecturer BMus at Westminster University (10+ years), Head of Vocals at London College of Contemporary Music, Southwark (16+ years), and Director of BRIT Kids at The BRIT School (maternity cover).

The piano can be a game-changer for some teachers, and irrelevant for others. The point is knowing which it is for you.

FAQ

Q: How is this better than a straightforward piano course?

A: Pianists - even excellent ones - don't fully understand the singing voice, and the delicate business of drawing out a confident result from a student. I have trained, taught and performed for many years in both the piano and singing. And by "trained" I mean: technique, style, repertoire, improvisation and teaching methodology. Getting to a high standard on both instruments took a while. I most certainly have gaps, but I DO understand piano and singing together, and how one can support the other.

Q: I've only got a keyboard - is that okay, or do I need a piano?

A: Perfectly fine - it doesn’t need to be fancy. You don’t need a Steinway—you just need a place to practise. Weighted, full-size keys are preferable but it's not a disaster if you're working with a basic keyboard. And, let’s face it, we can be faced with an assortment of ‘pianos with personality’ in schools and colleges. Learning how to handle this is in the course.

Q: Is this for complete beginners?

A: Not complete beginners to music. If you’re a singing teacher then you know about music. That knowledge and expertise just needs to be drawn out on a piano. If you can find middle C on the piano you’ll be fine.

Q: How does the personalised plan work?

A: The aim is to give you the piano skills for your singing teaching and vocal coaching. For example: those that teach musical theatre to Saturday morning classes may need different vocal warm up patterns to those that work mainly with adults singing for pleasure in a 121 lesson.

Q: I'm from a classical background, new to chords and popular song styles –will this course help me?

A: If you’re confident with classical repertoire, you’ll likely be strong with notation and melody reading. You may now need the ‘other’ side - chords, grooves, style patterns, embellishments, impro. I went through this transformation - painfully! - but it’s so rewarding being able to do both. Covered in Piano for Singing Teachers 2 - Modern Styles Fluent.

Q: Will I need to practice a lot?
A: It depends on your starting point. You’ll need to do some. But this course is built for teachers, not concert pianists. We’re aiming for efficiency rather than endless hours, and noticing the difference in your teaching practice from early on — you should feel more inspired to practise! As much as is genuinely possible we try and embed your practice in your actual teaching.

Q: How long will it take?
A: Around 8 weeks of actual work. But you may find yourself staying on one technique for longer which is both sensible and allowed. Because we embed your practice in your teaching week (paid practice!) you will have a constant feeling of getting there without the pressure.

Q: Can I see the course module breakdown?
A: We don’t use a one-size-fits-all approach. We start with what you’re trying to achieve and work out the best way to get you there. As a teacher, you’ll probably appreciate that. The general feedback (and my own experience too) is that approaching your teaching through the lens of the piano—and from a fresh angle—gives you a deeper understanding of your singing teacher philosophy, sharpening your methodology and approach. Good things to have!

Q: I love the idea of playing the piano
A: If you want to play classical repertoire: Chopin, Beethoven, Schubert etc. that demands a deeper commitment, and piano lessons would be your best answer. But if you just want to get going, this course may be the best way to start. You'll learn real piano skills that feel good under your fingers, and you can absolutely go on to lessons afterwards with a strong head start.

Q: Can I sign up another time?
A: It depends what you want. At the moment, it’s not an evergreen course (available all year round). It’s highly personalised—meaning much 1:1 attention, and therefore a limit on capacity. This is likely to be the last opening for 2025. In 2026, it may have a different shape and pricing.

I have another question.

Welcome! hello@themagnificentsinger.com