Because there is no better piano instruction anywhere. We employ, certify, and mentor the best, most expert piano teachers in South Orange County. We teach using carefully thought-out and well-practiced teaching, learning, and developmental philosophies and strategies that are truly the best in the world.

Many piano teachers out there are inexperienced (be wary of bargain pricing), non-professional, and experimenting as they go. Many music centers hire college students wanting some extra spending money, recent graduates just starting their careers (hoping for a better teaching job elsewhere), and transient subcontract musicians seeking a temporary side gig. These music centers do not mentor or otherwise invest in their teachers nor provide them any philosophical or strategic direction. This is in part because they do not know how, in part because they do not expect the subcontract teachers to be there for long, and in part because they don’t want the additional expense (they pay their teachers as little as they can in order to keep costs low — and of course quality remains low as well).

Do you want, for yourself or your child, a piano teacher who’s being paid the least amount possible by their boss or business owner? It should be self-evident that the best teachers demand worthy hourly rates, salaries, and benefits.

But even most of the more experienced and settled piano teachers, those who teach from their homes, run their own studios, and may have been teaching for decades, probably teach the way they were taught. Most piano teachers — then and now — teach children and adult beginners by relying on the inexpensive, poorly-designed, mass-market method books purchased (today) from online superstores, mega-retailers, or corporate publishers. These are “one-size-fits-all,” “teacher-proof,” “paint by numbers,” overly-simplistic yet random, haphazard, poorly-sequenced, tedious and boring, perhaps trying to come across as cutesy and kid-friendly but are actually really confusing. These teachers follow the book like an instruction manual, are often experimenting with this or that new book, are asking other teachers what books they use or recommend because the one they’re using isn’t working, and are often trying to teach things they themselves do not know. Problems abound, and teachers don’t know how to address the problems or the unique, individual children and students who come to them to learn.

You will know in part because the teachers will blame the students (and parents): This child is not ready for piano lessons. This child is too young. This child is too restless or cannot sit still. This child doesn’t practice, doesn’t complete assignments, doesn’t have support from their parents, or is involved in too many other activities. Music isn’t their thing or they lack talent. Etc.

(We not only have direct first-hand experience of all this but also practical external evidence: If you could hear/read the discussions among piano teachers in lounges, staff rooms, and the social media music teacher groups, you likely would be very dismayed…)

Our teachers are different. Our teachers study, learn about, and practice superior music teaching and learning philosophies and strategies, understand the uniqueness and individuality of each child and student, and teach using well-sequenced, superbly-designed, healthy, and flexible proprietary curriculum that we have developed over lifetimes of experience and effort. Our teachers work toward certification. They “own” the material and have the expertise to teach it. We teach any and all children, and we teach every unique student successfully. Our teachers are employees who believe in our ideas and methods, who study and learn continuously, who are engaged in music education and the community, are here for the long term, are compensated well, and are trusted and honored by us, their students, our parents, families, and colleagues.

Because we will elevate, not harm, your child.

Much of what somehow passes as piano instruction out there actually harms children, youth, and even adult students. Imagine after two years of piano lessons your child comes away not only unable to play much of anything but with psychological problems they did not have before — that the piano lessons introduced and instilled. Poorly-taught students become less confident, less creative, less critical, less able to think for themselves, or to think on their feet, too afraid of “making mistakes,” and fearful of taking the stage. It is heart-wrenching to see eager yet frustrated students falter and struggle to play even the simplest ditty on the piano. Many experience physical pain, emotional pain, and are left with real physical and psychological scars. (Consider as one example the many surgeries performed on students later in life to repair carpal tunnel syndrome and repetitive-stress injuries. These tensions and injuries are often seeded in early piano lessons.) Many simply give up or quit out of frustration, anxiety, anger, or perhaps intuitively to protect themselves.

How can we know? Are their signs?

The answer is, “Yes.” Here are some things you might witness:

The student tries to curve their fingers or make their fingers into a ball (you will hear this instruction from teachers very often). The student struggles to find the “right position” or the “starting position” for their hands when they attempt to play the piano. The student cannot play hands together (at the same time) even after many lessons. The student apologizes while playing. The student seems to know something one day and then doesn’t know it the next. The student is tentative, hesitates, starts over a lot, or starts and then does not want to finish. The student is anxious about playing the piano with and for others. The student seldom or never has anything ready to play. The student complains of neck, back, shoulder, or finger pain, tightness, fatigue, or headaches, associated with practicing, studying, or playing the piano.

Also, watch the teacher. Do they use gimmicks that try to force hand position (like holding a tennis ball, placing quarters on the backs of their hands, or using pencils as levers)? Do they cover their hands with a book or towel in order to try to force them to read the music and not look at their hands? Do they frequently tell the student to sit up straight, fix their posture, or sit still? Do they use mnemonics or other devices to try to get students to memorize things? Do they use terms like “C position” for their hand placement on the keys? (The piano has no positions; this teaching strategy slows down progress, sets students back, and often intellectually paralyzes and even traumatizes students.) Do they make the student (or parent) feel guilty for “not practicing” enough? Do they insist on lots of practice with a metronome (a miserable and constraining requirement that is completely unnecessary when students have been taught correctly, musically). Do they tell students who have natural good ears that their inborn musical talent is preventing them from sight reading music? Do they blame the students or parents when progress is unsatisfactory? Do they nag and shame?

If any of the above are true, stop piano lessons with that teacher! These lessons are unhealthy.

Instead, we elevate. Students learn healthy, tension-free playing technique, develop comfortable posture with ease, play freely and gracefully up and down the piano keyboard, play with both hands together from the very start, sing while playing, read music easily, develop their ears and other inborn talents, can keep a steady beat (internally), memorize a repertoire of music that they can play for others at any time, and perform confidently, both as soloists and in performance ensembles.

Because we offer and provide valuable performance and travel opportunities that are fun, exciting, rewarding, and deeply educational (without feeling too educational). Challenges are available to those who seek them, and students gain confidence as they meet challenges, succeed, and achieve. We offer local and destination recitals, private and community performances, solo and ensemble concerts and musicales, soirees, piano parties, online and in-person forums and masterclasses, and more. Students become comfortable playing for each other and for audiences large and small, and can play selections from a repertoire of memorized music at any time, including from the first lessons.

Most other teachers and music centers host one or two high-stakes and high-stress recitals per year. These events become the focus of many months of work, and result in a pass-or-fail feeling in students. Teachers will say a student succeeded or “bombed,” played well or “crashed and burned.” Students play the one piece they have worked so hard on just one time at the recital and then that’s it, they never play it again. Whatever happened, happened. Their memory of piano performances consists only of the anxious feelings and traumatic experiences they had at those infrequent recitals.

Our students perform frequently, in a variety of settings, on different pianos and keyboards, for different audiences, small and large, casual and formal, fun and serious, online and in-person, near and far. They become comfortable playing and performing for others. They develop confidence in themselves, their abilities, and their potential. They learn to command the stage.