As a private piano teacher, one of the greatest joys is the ability to tailor each lesson to the unique needs of my students. I’m not bound by a fixed curriculum or syllabus, which allows me to provide a teaching approach that I believe is more meaningful and effective.
Over the years, some parents have asked why their children aren’t being drilled on scales and arpeggios in every key, as they themselves may have experienced, or have seen done elsewhere. While I completely understand the desire for technical mastery, I’ve developed a strong belief that learning is most impactful when it’s directly relevant to what the student is working on at that moment... and that’s where my approach to teaching scales comes in.
LINKING SCALES PRACTICE TO REPERTOIRE
Don’t get me wrong: I do teach scales. In fact, scales and arpeggios are part of every student’s learning. The difference is that I don’t teach them in isolation. Scales are fundamental building blocks of music, but their true value comes when they serve a purpose beyond mere repetition. I believe scales for beginners and intermediate players should be more than a separate mechanical exercise. They should in fact help deepen a student's understanding of the actual music they’re playing. When taught in isolation, without a connection to a piece of music, scales can often feel disconnected and, frankly, tedious for students.
Instead, I like to teach scales with intention, aligning them with the key of the piece the student is currently learning. For example, if we’re working on a piece in G major, we’ll focus on scales, arpeggios, and chords that reinforce the understanding of this key. This way, the technical work feels relevant and useful, and the student builds a stronger connection to key relationships within the music they’re playing. For me, it’s about bringing theory and piano technique into practice at the right time... as opposed to practising scales just because they are on an organisation's academic syllabus.
WHY PRACTISE A D-FLAT MAJOR SCALE IF IT'S NOT IN THEIR PIECES?
Some might argue that time spent mastering scales in any key, even if not immediately relevant, serves the greater purpose of developing a well-rounded, adaptable musician who is able to handle technical, artistic, and performance challenges with greater ease in the long run.
However, I’d say that this rebuttal is only valid for a small minority of students... for example, those who are naturally musically gifted, are naturally inquisitive, advancing quickly, and have aspirations of pursuing higher music education or becoming professional performers or teachers.
For most students, who are primarily interested in playing the piano privately at home, learning all scales, arpeggios, and other technical exercises can feel overwhelming and irrelevant. Many simply want to enjoy playing music for personal fulfilment, so pushing them through the intensive process of mastering every key might diminish their overall enjoyment and experience.
By acknowledging this reality about my students, I make scales more than just separate exercises in finger dexterity... they become tools for deeper musical understanding. By linking scales within the repertoire students are learning, they grasp not only the technical patterns, but also their practical application and association with the key signature. This method enriches their learning and strengthens the connection between an appropriate scale and the music they are creating.
SCALES FOR EXAMS: A BOX-TICKING EXERCISE?
Some parents may feel more comfortable with the traditional exam system, where scales are often treated as a separate, isolated part of the learning process. However, I’ve always been sceptical of this approach. Traditional in-person exams from ABRSM, MTB Trinity and others sometimes place a heavy emphasis on technical skills that don’t always connect to the music students are playing. In my experience, this can lead to students learning scales in a way that feels more like a “box-ticking” exercise, where the goal is to complete a list of technical requirements rather than to deepen their understanding of the music.
I’ve had students transfer to me from other teachers who have memorised numerous scales in isolation, but when I ask them what key their piece is in, they often aren’t sure. This is exactly the kind of disconnect I want to avoid in my teaching. The focus shouldn’t be on rote memorisation but on understanding how scales fit into real music-making and how key signatures are linked with them. The goal isn’t just to play a scale perfectly for an exam... it’s to understand how that scale or key signature enhances their musicality and fits into the context of the piece they’re working on.
Of course, scales do build dexterity, finger strength, and confidence, but I find this happens more effectively when there’s a direct connection to the music and a clear understanding of how they link to the key signature. Teaching scales solely to meet exam requirements can feel like an empty exercise, and I want my students' piano experience to have more depth than that.
WHAT ABOUT TRADITIONAL LEARNING?
I absolutely respect that some parents prefer a more traditional approach, and there’s nothing wrong with that. For some students, a syllabus-based method might work, especially if the focus is on passing grade exams or achieving specific milestones. However, my personal teaching philosophy is rooted in the belief that students learn best when their lessons are connected to real-world applications... in other words, the music they’re currently playing and enjoying.
If a more traditional path is desired, I’m always happy to have that conversation. Ultimately, the goal is to provide students with an experience that resonates with them and their families. If that means going in a different direction, I respect that and am happy to step aside if it better suits their needs. But for those who wish to continue with a personalised, repertoire-driven approach, I believe the method I use will serve them well in the long run.
FINAL THOUGHTS
At the end of the day, my role is not just to teach piano but to inspire a lifelong love of music. Scales, arpeggios, and technical exercises are important, but they should always serve the bigger picture of music-making. I want my students to feel that what they’re learning has immediate relevance, and to develop their skills in a way that feels connected to the music they love.
For anyone reading this who may be considering lessons for themselves or their children, I encourage you to think about what kind of learning environment will inspire growth and creativity. Whether it’s following a pre-arranged syllabus, or taking a more customised approach, the key is finding a method that makes music engaging and meaningful.
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