“I tried piano lessons - twice! - but I want to play for my teaching, not spend ages learning pieces”

PIANO for SINGING TEACHERS —Play piano not pieces.

For Singing Teachers, Vocal Coaches, Workshop Leaders, Pop Choir Directors.

Made for singing teachers by a singing teacher. gives you only what you need, helps you apply piano to your teaching soecialism and styudio. End with a I know what I’m doing here professional

How to

This course shows you how to confidently play for 1-2-1 lessons, workshops, and pop or musical theatre choirs — even if you've felt clunky, relied on YouTube or backing tracks, or never quite figured out how to sound stylistic and musical.

Only what you need to teach. No unnecssary theory, repertoire, . And definitely no

You don’t need to become a concert pianist. You need to lead clearly, accompany musically, and stay connected to your singers — without fumbling for chords or burying yourself in sheet music.

The aha most teachers miss? Standard piano lessons are the wrong tool.

PIANO for SINGING TEACHERS is a training made by a piano playing singing teachers, specificaaly for . If offers 3 Levels depending on your situation and teaching niche and focuses on

It fouincluding vowal warm ups, melody, song performance prep, no-prep

Take Advantage of The Piano ‘Halo Effect’

On a dedicated private space on Piano for Singers Studio. A private space on a private platform — safe from prying eyes!.

Get Piano that supports, not intrudes

Song Intro Demo — lyrical style pattern,slightly pulled tempo, pedal, for an accomplished singer who needed a some reassurance .
Here we have simple yet musical intro that sets the mood with a slight pulled back ebb and flow tempo, and relaxed energy. Some help with the starting note, but subtle. In this case I gave a slight entry prompt, but more for confirmation. What I DIDN’T do: list of fancy embellishments, extensions, a few reharmonisation. This singer has a handle on song entry - just some small prompts, but many about providing an ebnergy and and just a few reassuramces rather than direct prompts. Crazy splashy embellishement. Not because . A LOT of playing for singer about choiuces. Playing piano for singers is not about how good am I? It’s about: What can I do to make this performer sing confidently and connect to the delivery?How can I best support this performer> Standing up in singing is an adreline rush. f they settling — this is what you do. If they need energying — this is what they do. If they have a problem finding their starting noyte — this is what I do. If they have problems singing with a fixed pulse — this is

@Bluthner Piano Studios

AFTER PIANO for SINGING TEACHERS, YOU WILL BE ABLE TO

LEVEL ① – CV READY

Build confidence, fluency, and presence at the piano

• Use piano to lead warmups, pitch work, and song coaching—without hesitation or stress

• Present yourself as a well-rounded, confident teacher in bios, auditions, and studio showcases

• Stop avoiding the keyboard and start making musical decisions that support your students beautifully

• Legitimately add ‘Piano’ to your CV and studio marketing

• Use the piano as a visible mark of confidence and professionalism

• Feel proud of your musical leadership in lessons, groups, and beyond

LEVEL ② – SHOW READY

Sound like you know what you’re doing—even in commercial styles

• Deliver stylish, authentic accompaniments that make your advanced students shine

• Support personalisation and interpretation—without spending weeks prepping a single song

• Position yourself as a specialist or niche expert (MT coach, RnB vocal stylist, gospel choir leader, etc.)

LEVEL ③ – CHOIR COMMAND

Lead groups, direct with flair, and own the room from the keys

• Manage group energy, teach harmony parts, and run the rehearsal from the piano with total clarity

• Say “yes” to directing choirs, vocal groups, or community projects—without second guessing yourself

• Stop shrinking behind the keyboard and start shaping the sound and spirit of the room

Choose your Level

If you don't know me, I'm Elizabeth Tillotson

First Lecturer in Music Post aged 22. I taught for 25+ years in London including Visiting Lecturer - Westminster University (10 + years), Head of Vocals -London Centre of Contemporary Music (16+ years), Director of BRIT KIDS -The BRIT School (Maternity cover).

Founder I got here in a zig-zag fashion.

How I got here. In a zig zag fashion! Things I found hear. The things I had to learn. Some of the early days and some it a BIG struggle. I use the piano every day… for things like this…With some — I had no idea) . How I got here. In a zig zag perculiar fashion. Which (helpfully although entirely unplanned) gave me a cross section of skills

• Cello — understanding of the ebb and flow of an orchestral, chamber orchestra classical shape of a phrase and

• Choral mistress patent — choral upbringing. 4 part harmony. Sight singing. Figured bass. And of course all those delicious inner part movement.

• Bass — groove and bass lines and the POIBT of the lower range. Left hand playing for grooves is more than just the lower range.

• Commercial Vocal pedagogy study. Probably don’t need to explain this! But of course. Tone. Registration. Agility .

• Piano — the usual classical grades and a very painful switch to improv

• Jazz. Rhythm section. About rhythmic patterns and stylistic embellishments that are singers and musicians .

• Jazz voice. Largely self taught in the back of everything else.

• So this means I use piano for…

• Dem

Teaching in Higher educatuon for 30+ years, including

"I designed this Studio based on real teaching experience—working weekly with students, choirs, and professional singers across styles. Here's why I'm so passionate about helping singing teachers unlock the piano too:"Recorder aside, my first instrument was ‘Cello. Classical music, orchestra and choir was part of my upbringing via my Choral Mistress Mother. I don’t remember learning to read music, singing and the piano was always part of what we all did. I took a tangent and studied jazz at Leeds Conservatoire (as it is now). In my ‘30’s I clicked with singing and playing the piano together. It’s double the workload to do it well, but I love it. I still perform as a Singer-Pianist professionally. Through transitioning to Jazz, latin and commercial styles I understand the tortuous confusion of transforming from a notation reading, melody orientated musician, to a groove, chord, playing by ear musician. (This took me a while). Along the way I have taught many, many singing lessons using the piano. From children’s singing groups, choirs, a cappella groups, vocal ensembles and countless 121 lessons. These days it tends to be professionals, adults doing it for pleasure, and artists finding their signature singing style. But I understand exactly what you’re going through - because I’ve ploughed through it myself. Piano for Singing Teachers aims to make it easier!

• The ability to truly listen while playing

• The specific piano techniques that match their teaching style, not a generic method from a pianist who doesn’t understand the voice

Paragraph 1: I’ve done /do this

Paragraph 2: How I got here / how it came about

Paragraph 3: How I use the piano

• 20+ years’ experience teaching voice and piano

• Worked in top London schools, conservatoires, and professional studios

• Use the piano every week for choirs, groups, private lessons, and professional singers

• How piano transformed your career (authority, flexibility, opportunities)

The Piano Teaching Tool

settle very, very chatty Saturday morning —- at BRIT Kids, The BRIT School

draw out confidence in the always-fancied-singing nervous adult 121 — always fancied this (private)

lead Vocal jazz Retreat Workshops and Concerts --Leeds Conservatoire, Wales

help Masters find colour, dynamic, — LCCM. Westminster Unives

Cast of Yorksite TV

think about harmonic colour.—- Westminster

he more teaching tools we have helps us cross that tricky yet so importnat t ‘communciation’ ogap fof teaching singing, vocal coaching 121 student syoung and old, workshops, lead pop choirs.

The goal is to support your student through their progress of becomeing a singer.

Help you cross that tricky communication gap.. The piano is another tool in your specialised studio.o

I got here in a zigzag fashion. Which (helpfully although entirely unplanned) gave me a cross section of skills

• ‘Cello — understanding of the ebb and flow of an orchestral, chamber orchestra classical shape of a phrase and

• Choral mistress patent — choral upbringing. 4 part harmony. Sight singing. Figured bass. And of course all those delicious inner part movement.

• Bass — groove and bass lines and the POIBT of the lower range. Left hand playing for grooves is more than just the lower range.

• Commercial Vocal pedagogy study. Probably don’t need to explain this! But of course. Tone. Registration. Agility .

• Piano — the usual classical grades and a very painful switch to improv (this took a long time)

• Jazz. Rhythm section. About rhythmic patterns and stylistic embellishments that are singers and musicians .

• Jazz voice. Largely self taught in the back of everything else.

• So this means I use piano for…

• 20+ years’ experience teaching voice and piano in specialist London schools, conservatoires, and private studios

• Professional choir director, workshop leader, and vocal coach

• Weekly use of piano for singers in commercial styles—pop, musical theatre, gospel, and more

• Piano transformed my own career—opening leadership roles, professional opportunities, and artistic recognition

You don’t need to be a concert pianist. You just need the right skills for the job.

• I’m a professional singing teacher, piano coach, and music educator with over 20 years’ experience.

• I’ve taught at universities, conservatoires, and specialist performing arts schools—including [names if you want to drop them].

• I coach professional singers, musical theatre performers, and aspiring vocal coaches at all levels.

• I use the piano every single week to run private lessons, warm-ups, group sessions, choir rehearsals, and professional workshops.

• I’ve accompanied hundreds of students across commercial styles—from pop to gospel to musical theatre—with flexibility and freedom.

And here’s what piano fluency has unlocked for me:

• 🎤 The ability to direct choirs, workshops, and student showcases with ease

• 🎧 The freedom to teach online without depending on backing tracks

• 🎶 Instant authority and trust with students, parents, and professional clients

• 🚀 Career doors opening into leadership, curriculum design, and vocal consultancy

• ✨ A reputation for being the teacher who can actually make music happen in the room—not just talk about it

• Run concerts (lots of these)

• And of course, countless evening classes — jazz, popular music

What other singing teachers are saying:

“I came to Elizabeth as a lapsed classical pianist looking to develop my keyboard skills in different areas (choral accompaniment and jazz). Elizabeth is extremely knowledgeable in a range of genres and techniques and she is fabulous teacher - warm, encouraging and learner-focused. As a teacher myself, I really appreciated her effective communication and helpful resources. Her guidance and feedback helped me to develop my confidence as a musician.”

—EIMEAR

Prefer face-to-face lessons?

Central London Lessons

• In-person

• World Class pianos

• Central London Studio - behind Selfridges. Bond Street (Jubilee).

• Single lesson, 4 Lesson, 10 Lesson Packages available.

from £85

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Ready to Professionalise Your Piano for Teaching Singing?