Yina Choi

New to Lessonface
Lute
Lesson Fees
$30.00 / 30 Minutes

About

I am a musician and educator with a unique background bridging Eastern and Western musical traditions. Currently a final-year PhD candidate in Music Education at a UK university (University of Readig, music education,2021-2026), I bring over 20 years of teaching experience to my online studio.

I hold two Master’s degrees—Musicology (China) and Music Education (Distinction,University of Readig, music education,UK 2018-2019)—and offer bilingual instruction (English/Mandarin) tailored to your specific goals.

1. Pipa (Chinese Lute) Instruction
My Pipa journey began in childhood, where I was classically trained under distinguished Chinese masters to develop "Tongzigong" (solid, ingrained technique).
For Beginners: I make this traditional instrument accessible to everyone, regardless of musical background. You will learn proper posture, right-hand finger techniques (lunzhi, tantiao), and reading numeric notation (Jianpu) or Western notation.

For Advanced Players: We will focus on repertoire, emotional expression, and advanced performance techniques.
Exam Preparation: I specialize in preparing students for the CCOM (Central Conservatory of Music) and Shanghai Conservatory overseas grade exams.

2. ABRSM Theory & Aural Training (The Kodály Approach)
Many students struggle with the Aural (listening) section of ABRSM exams. I solve this using the Kodály Method, a highly effective musicianship training system.
Musicianship First: Instead of rote memorization, I train your ear to internalize pitch and rhythm.
Exam Success: This method makes sight-singing and rhythmic repetition natural and stress-free, significantly boosting exam scores for instrumentalists of any kind (Piano, Violin, etc.).

My Teaching Philosophy
As a researcher in Music Education, I believe that every student learns differently. I do not use a "one size fits all" method. I diagnose your technical strengths and weaknesses and build a customized learning plan. My lessons are structured and logical, yet delivered with patience and encouragement.

Whether you are looking to connect with Chinese culture through the Pipa or secure a Distinction in your ABRSM Theory exams, I look forward to helping you achieve your musical goals.

Teaching Style

My teaching style is diagnostic, structured, and student-centered, informed by my background as a PhD researcher.

I do not believe in a "one-size-fits-all" approach. Instead, I assess each student’s current ability and learning style to create a customized roadmap.

For Pipa Students: I emphasize a balance between rigorous technique and musical enjoyment. My method focuses on:

  • Foundation First: Establishing correct posture and hand relaxation to prevent injury and ensure a professional tone (the "Tongzigong" approach).
  • Cultural Context: Understanding the stories and history behind the repertoire.
  • Effective Practice: I teach you how to practice efficiently between lessons so you progress faster with less time.

For ABRSM Theory & Aural Students: I use an "Active Musicianship" approach (Kodály Method).

  • We move away from dry textbook memorization.
  • We use singing, clapping, and "inner hearing" to internalize music theory.
  • This transforms the Aural test from a stressful guessing game into a logical, confident skill.

Classroom Atmosphere: My lessons are patient and encouraging. Having taught for 20 years, I know that mistakes are part of learning. Whether communicating in English or Mandarin, I ensure complex concepts are explained simply and clearly. My goal is to leave you feeling challenged but confident after every session.

Curriculum

My methodology is rooted in "Scaffolding"—a pedagogical strategy backed by my PhD research. This means I break down complex skills into small, manageable steps, ensuring you never feel overwhelmed.

For Pipa Instruction: I combine the traditional "Oral Teaching" method (teaching by ear and demonstration) with modern notation reading.

  • Technique: We start with the fundamental right-hand "Tan-Tiao" and "Lun-Zhi" (tremolo) separately from left-hand fingering to build coordination.
  • Notation: I teach students to read both Jianpu (Cipher/Numeric Notation)—the standard for Chinese music—and Western Staff Notation.

For Theory & Aural (Kodály Approach): I adhere to the principle of "Sound Before Symbol."

  • Before writing a note, you should be able to hear and sing it.
  • We use Relative Solfa (Do-Re-Mi) and Rhythm Syllables to internalize music. This allows students to recognize intervals and rhythms instantly during ABRSM exams without "guessing."