Kane Kan Chuan
毕业于英国伦敦音乐学院，钢琴演奏专业荣誉学士学位。新加坡南洋艺术学院音乐系。IB音乐课程全球认证教师。IMCAS新加坡国际音乐文化协会主席。
上课地点 11 lim tua tow rd#05-36 Casa Cambio, 547803
联系电话96216422
每个学期十节课，9节课一对一加一节表演课。
试课费 30分钟，60SGD
初级，30分钟，60*10，600 SGD
1-5级，40分钟，80*10，800 SGD
6-8级，45分钟，90*10，900 SGD
diploma，50分钟，100*10，1000SGD
双周／非定期课，60分钟，120SGD
学生考试优秀率百分之百。
使用网上银行支付到 POSB-Saving：401-58930-9. 请在备注中写入学生姓名，以便查看付费人
报名ABRSM考级之要求，必须完成曲目和音阶的所有基本弹奏，必须达到相应级别的试奏水平，这是参加考试的最低要求。未达到此要求不能报名考试。
阚川, Kane
马来亚大学音乐教育学博士（在读）
英国伦敦音乐学院（西伦敦大学）钢琴演奏荣誉学士学位
新加坡南洋艺术学院音乐表演专业文凭
IB International Baccalaureate 国际音乐教育课程注册讲师
IMCAS新加坡国际音乐文化协会创办人兼主席
从事2007年起教学工作十余年，培育超过百名学生参加英皇考级，通过率百分之百，优秀率百分之80以上，近年来获得130 distinction以上（参见证书）的学员基本占据百分之百。教学成果，以及教学质量受到家长和学员一致认可。
近年里专注培养高级别演奏学生，diploma考试通过率百分之百，学生频繁在国际大赛中获奖，以及考入新加坡南洋艺术学院钢琴系。
新加坡国际音乐文化协会主席，近年来从事古典音乐文化普及工作，筹办音乐会，比赛以及大师班。
学生必读：
各位学生，家长，你们好。非常感谢各位的信任，慕名来拜访我上课。为了不耽误彼此的时间，以及对彼此最大的尊重，最重要的是提供给学生最好的音乐教育。我需要在这里提出我的上课要求。
1，我不是一个幼儿启蒙类的钢琴老师，所以暂时不招收业余爱好者，不怎么练琴，以及年龄过小的琴童。
2，我希望我的学生能够在上课以及课后认真配合我的教学工作，不要彼此浪费对方的精力和时间，按时上课，不缺课，课后每天至少练琴一小时。
3，年龄过小的学员，家长在学琴初期必须陪同上课，陪同练琴。
钢琴演奏是一门很系统的学科，如果想学好，必付出很多精力和时间，妄图速成，以及懒惰，没有毅力的人是很难学成，也必将半途而废的，所以在各位开始决定学钢琴以前一定要下定决心，如果没有把自己的心态调整到我以上说的几点，建议可以再考虑一下学一些其他的东西也是对身心发育有好处的。如果你决定了要好好学钢琴，那么我也有信心，让你成为我所有优秀学生中的一员。
以上是我多年教学经验的总结，因为看过了太多半途而废的例子，所以在此提前告知各位，以免耽误孩子以及家长朋友的宝贵时间。希望大家能够理解。
Kane
最近的一些成绩
Tan Leong Boon考入新加坡Lassasle艺术学院音乐系
Li wenhao 考取ARSM distinction
以及其他一些通过考试的同学。
1 上课前提前喝水上厕所，上课时间不许离开琴凳，上课之前检查所有的书本是否齐全，上课之前洗手剪指甲。
2 每天练琴至少1小时，且需要固定时间，如，每晚6-7pm每天固定在同一时间练琴。10岁以下学生，家长需要每天陪练以及陪同上课。
3 家中钢琴要求yamaha u1级别以上（不包括中国产，印尼产）钢琴，能够演奏出多种音色，以及稳定的琴弦pitch帮助孩子建立正确听力。
4 每年有2个月的放假时间（在学生假期或考试时间），以及两次表演课（内容包括音乐会，大师班，四首连弹），每位学生每年有4次请假机会。
5 每个月的第一个星期交学费，请查看好这个月是否都能来上课，有任何事宜不能来上课，请在月初说明，临时请假不退还学费。
6 因病请假，提供MC可在当月给予一次补课。
7 收费标准：
试课30分钟，50新币
初级45分钟，60新币
1-5级50分钟，70新币
6-8级60分钟，80新币
表演课按照同样一节课学费收取
Kane Music
Baroque
巴洛洛克时期
17th Century
1， two-part melody， melodic ideas in both upper and lower parts， polyphonic(复调）
2， limited range of dynamic and rhyme change （没有明显⾳音⾊色和节奏变化）
3， reflecting original use of harpsichord – no pedal and crisp articulation（显示了了对 17世
纪古钢琴演奏的运⽤用，没有踏板，和清晰的触键）
4， lively and simple rhythms （轻快简洁的节奏型）
Classical
古典主义时期
18th Century
1， graceful and elegant melody (平和⾼高雅的旋律律，⽽而⾮非浪漫主义时期的深度抒情和波澜
起伏）
2， arpeggios and scales are used in the melody (旋律律部分⼤大量量使⽤用了了琶⾳音和⾳音阶）
3， melody with accompaniment texture （旋律律加伴奏的结构）
4， ornamentations （装饰⾳音的应⽤用，注意：巴洛洛克时期也经常使⽤用装饰⾳音，只听到装饰
⾳音不不可作为判断依据，不不同点主要是巴洛洛克时期：复调，对⽐比古典主义时期：旋律律加伴
奏）
5 harmony is straightforward（简易易和声）
Romantic
浪漫主义时期
19th Century
1， rich harmony （丰富的和声感）
2， pedal is used （使⽤用踏板）
3， flexibility of tempo， rit. ,rubato ， the music slowed down in the middle or in the
end. (节奏快慢有明显的变化，散拍，中间或者结尾处变慢等。 )
4, lyrical/expressive/song-like melody (旋律律及其优美，抒情，如歌般）
5， wide range of ： keyboard use， dynamic change（⼤大幅度的⾳音⾊色变化以及⼤大幅度的键
盘使⽤用）
20th Century
20世纪，近现
代
爵⼠士乐，或听起来怪异（和声属性超前，使⽤用⾼高级和弦）
1， rhythm change （节奏上有变化，绝⾮非⼀一尘不不变）
2， advanced harmony： dissonant， clashing notes （如判断为印象派或其他后现代主义
⾳音乐：⾼高级和声，出现不不和谐⾳音程）
3， syncopation， swing rhythm， jazzy style （如判断为爵⼠士乐，会有切分⾳音和， swing
⻛风格，以及爵⼠士⻛风格）
4， wide dynamic contrasting （强烈烈的⾳音⾊色对⽐比）
Grade5 music theory mock exam paper for 2018 onwards
Grade 5 theory Italian & German terms (ABRSM)
This page contains the main Italian and German musical terms needed for ABRSM grade 5 theory. Pupils are required to have memorised the English translations of the Italian and German terms, in addition to knowing the terms from the previous grades.
| attacca | go straight on to the next section of music |
| dolente | sad, mournful |
| dolore | grief (doloroso: sorrowful) |
| doppio movimento | twice as fast |
| estinto | as soft as possible, lifeless |
| incalzando | getting quicker |
| lacrimoso | sad |
| loco | at the normal pitch (used often to cancel an 8va direction) |
| lunga | long (lunga pausa: long pause) |
| lusingando | coaxing, in a sweet and persuasive style |
| misura | measure (all misura: in strict time; senza misura: in free time) |
| ossia | or, alternatively |
| piacevole | pleasant |
| piangevole | plaintive, in the style of a lament |
| pochettino, poch. | rather little |
| rinforzando, rf, rfz | reinforcing |
| segue | go straight on |
| smorzando, smorz. | dying away in tone and speed |
| teneramente, tenerezza | tenderly, tenderness |
| tosto | swift, rapid (but often used in the same sense as troppo) |
| volante | flying fast |
| aber | but |
| ausdruck | expression |
| bewegt | with movement, agitated |
| breit | broad, expansive |
| ein | a, one |
| einfach | simple |
| etwas | somewhat, rather |
| fröhlich | cheerful, joyful |
| immer | always |
| langsam | slow |
| lebhaft | lively |
| mässig | at a moderate speed |
| mit | with |
| nicht | not |
| ohne | without |
| ruhig | peaceful |
| schnell | fast |
| sehr | very |
| süss | sweet |
| traurig | sad |
| und | and |
| voll | full |
| wenig | little |
| wieder | again |
| zart | tender, delicate |
| zu | to, too |
Grade 4 theory Italian & French terms (ABRSM)
| affettuoso | tenderly |
| affrettando | hurrying |
| amabile | amiable, pleasant |
| appassionato | with passion |
| calando | getting softer, dying away |
| cantando | singing |
| come | as, similar to (come prima – as before, come sopra – as above) |
| facile | easy |
| fuoco | fire |
| giusto | proper, exact (tempo giusto – in strict time) |
| l’istesso | the same (l’istesso temo – the same speed) |
| morendo | dying away |
| niente | nothing |
| nobilmente | nobly |
| perdendosi | dying away |
| possibile | possible (presto possibile – as fast as possible) |
| quasi | as if, resembling |
| sonoro | resonant, with rich tone |
| sopra | above |
| sotto | below (sotto voce – in an undertone) |
| veloce | swift |
| voce | voice |
| à | to, at |
| animé | animated, lively |
| assez | enough, sufficient |
| avec | with |
| cédez | yield, relax with speed |
| douce | sweet |
| en dehors | prominent (a direction to make a melody stand out) |
| et | and |
| légèrement | light |
| lent | slow |
| mais | but |
| moins | less |
| modéré | at a moderate speed |
| non | not |
| peu | little |
| plus | more |
| presser | hurry (en pressant – hurrying on) |
| ralentir | slow down |
| retenu | held back (en retenant – holding back, slowing a little) |
| sans | without |
| très | very |
| un / une | one |
| vif | lively |
| vite | quick |
Grade 3 theory Italian terms (ABRSM)
| adagietto | rather slow (faster than adagio) |
| ad libitum, ad lib. | at choice, meaning that a passage may be played freely |
| agitato | agitated |
| alla breve | with a minim beat, equivalent to 2/2, implying a faster tempo than the note values might otherwise suggest |
| amore | love (amoroso – loving) |
| anima | soul, spirit |
| animato | animated, lively |
| animando | becoming lively |
| ben | well |
| brio | vigour |
| comodo | convenient, comfortable |
| deciso | with determination |
| delicato | delicate |
| energico | energetic |
| forza | force |
| largamente | broadly |
| leggiero | light, nimble |
| marcato / marc. | emphatic, accented |
| marziale | in a military style |
| mesto | sad |
| pesante | heavy |
| prima / primo | first |
| risoluto | bold, strong |
| ritmico | rhythmically |
| rubato / tempo rubato | with some freedom of time |
| scherzando / scherzoso | playful, joking |
| seconda / secondo | second |
| semplice | simple, plain |
| sempre | always |
| stringendo | gradually getting faster |
| subito | suddenly |
| tanto | so much |
| tranquillo | calm |
| triste / tristamente | sad, sorrowful |
| volta | time (prima volta – first time, seconda volta – second time) |
Grade 2 theory Italian terms (ABRSM)
| a | at, to, by, for, in the style of |
| al, alla | to the, in the manner of |
| allargando | broadening (getting a little slow and probably louder) |
| andantino | slightly faster than andante |
| assai | very |
| con, col | with |
| dolce | sweet, soft |
| e, ed | and |
| espressivo / express. / espr. | expressive |
 / fortepiano |
loud, then immediately soft |
| giocoso | playful, merry |
| grave | very slow, solemn |
| grazioso | graceful |
| larghetto | rather slow (not as slow as largo) |
| largo | slow, stately |
| ma | but |
| maestoso | majestic |
| meno | less |
| molto | very, much |
| mosso, moto | movement |
| non | not |
| più | more |
| presto | fast |
| senza | without |
 /  / sforzando / zforzato |
forced, accented |
| simile / sim. | in the same way |
| sostenuto | sustained |
| tenuto | held |
| troppo | too much |
| vivace, vivo | lively, quick |
 |
A wedge sign above or below the notes indicates super-staccato (staccatissimo), played as briefly as possible and possibly accented |
 |
Dots inside a slur over or below the notes mean the notes should be slightly separated (semi-staccato), but less so than notes with ordinary staccato |
 |
over or under the notes means accented and slightly separated (marcato) |
 |
over or below the note means the note is given a slight pressure (tenuto) |
Grade 1 theory Italian terms (ABRSM)
| accelerando / accel. | gradually getting quicker |
| adagio | slow |
| allegretto | fairly quick (but not as quick as allegro) |
| allegro | quick |
| andante | at a medium (walking) speed |
| cantabile | in a singing style |
crescendo / cresc. /  |
gradually getting louder |
| da capo / D.C. | repeat from the beginning |
| dal segno / D.S. | repeat from the sign  |
decrescendo / decresc.  |
gradually getting quieter |
diminuendo / dim. /  |
gradually getting quieter |
| fine | the end |
 / forte |
loud |
 / fortissimo |
very loud |
| legato | smoothly |
| lento | slow |
| mezzo | half |
 / mezzo forte |
moderately loud |
 / mezzo piano |
moderately quiet |
| moderato | moderately |
 / piano |
quiet |
 / pianissimo |
very quiet |
| poco | a little |
| rallentando / rall. | gradually getting slower |
| ritardando / rit. | gradually getting slower |
| ritenuto / rit. | held back |
| staccato / stacc. | detached |
| tempo | speed, time (a tempo: in time) |
| 8va | octave |
 |
play an octave higher NB va may be omitted |
 |
play an octave lower NB vb may be omitted or even replaced with va |
 |
pause on the note |
  |
72 crochet beats in a minute |
 |
accent (placed over or under a note) |
 |
slur (joining two different notes) |
 |
dot over / under note = staccato |
 
|
repeat marks – at the second sign go back to the first sign and repeat the music from there (if the first sign is missed out, repeat from the beginning) |
Performance directions for Piano, Strings & Brass
Grade 4 and Grade 5 (ASBRM)
This page describes the main performance direction terms and symbols used in playing piano, strings and brass instruments. The meaning of the terms and symbols need to be learnt for ABRSM grade 4 and above.
Piano performance directions: pedals and hands
| Left pedal | Soft pedal, or Muting pedal, also called una corde. Normally three strings are used per note. When the soft pedal is pressed, the whole keyboard is shifted along so that hammers on strike two strings in the upper register and one string in the lower register |
| Middle pedal | Sostenuto pedal (not fitted to all pianos). Depressing the pedal dampens only the notes that have been struck |
| Right pedal | Damper pedal. When pressed, felts are lifted off the piano strings to allow the sound to be sustained. |
 |
Press down / release the damper pedal |
 |
spread the notes of the chord quickly starting from the bottom |
| mano | hand (mano sinistra, m.s. – left handed; mano destra, m.d. – right handed; also used for the harp) |
| Una corde | one string, depress the soft pedal |
| Tre corde | three strings, release the soft pedal |
| S.P._______ | Sostenuto Pedal – hold the sustain pedal down for the notes indicated by the line |
Performance directions for strings (violin, viola, cello and double bass)
 |
Down bow |
 |
Up bow |
| arco | bowed |
| pizzicato | plucked |
| sul G | play on the G string (also sul D, sul A, sul E) |
| sul ponticello | play near the bridge |
 |
a slur shows that the notes are to be played in a single bow stroke (either up or down) |
Mute terms for strings and brass (trumpet, trombone, tuba, etc.)
| con sordini / con sord. | with mute |
| senza sordini / senza sord. | without mute |
Theory – Degrees of the Scale
| Tonic | 1st note |
| Supertonic | 2nd note |
| Mediant | 3rd note |
| Subdominant | 4th note |
| Dominant | 5th note |
| Submediant | 6th note |
| Leading Note | 7th note |
| Tonic | 8th note |
The above table gives the names of each note of the scale.
As an example, the stave above shows how the degrees of the scale relate to the key of C and hence the C major scale.
If the key was F Major, the tonic would be F and the subdominant (4th) would be B-flat.
Theory Ornaments
The following illustrates the main musical ornaments and gives examples of how they might be played.
The exact interpretation of a given ornament (how it is played) is usually left to the discretion of the performer. The amount of embellishment is also very much at the discretion of the performer and often players with add ornaments (particularly to baroque music) even if it is not marked, provided it fits with the style of the piece.
Pupils are expected to be able to recognise the ornaments and name them for grade 4 and grade 5 ABRSM.
Trill (also called a shake)
Mordent (also called the upper mordent, inverted mordent, or pralltriller)
Lower Mordent (also called mordent)
Note the line through the symbol 
Turn (also called grouppetto)
Inverted Turn
Appoggiatura (also called a grace note)
Double Appoggiatura
Acciaccatura (also called a short appoggiatura or a grace note)
Portamento (played as a smooth slide between two notes)
Glissando (played as a smooth or stepped slide between two notes)
Orchestral Musical Instruments and their Clefs
The following tables list the main orchestral instruments, listed in order of highest to lowest pitch.
The tables also show the main clef used by the instruments; additional clefs use are shown in italics following the + sign.
Finally, the tables indicate if the instruments are ‘transposing’ instruments. For example, if a French Horn plays a written C, it will sound like an F played on the piano: the piano is said to play in concert pitch or in C and the French Horn in F.
The table only gives the keys of the most common form of the transposing instruments. Some instruments (especially trumpet and, to a lesser extent, the other brass and some woodwind) are also made in other keys.
Brass
| Instrument | Clef | Transposing |
| Trumpet | Treble | Transposing: in B-flat |
| French Horn | Treble + bass | Transposing: in F |
| Trombone | Bass + tenor | No |
| Euphonium (used in some of the larger orchestral works) | Bass | No |
| Tuba | Bass | No |
Woodwind
| Instrument | Clef | Transposing |
| Piccolo | Treble | Transposing: sounds an octave higher than written |
| Flute | Treble | No |
| Clarinet | Treble | Transposing: in B-flat |
| Oboe | Treble | No |
| Cor Anglais | Treble | Transposing: in F |
| Bassoon | Bass + tenor | No |
| Contra-bassoon (or double bassoon) | Bass | Transposing: sounds an octave lower than written |
Strings
| Instrument | Clef | Transposing |
| Violin | Treble | No |
| Viola | Alto + treble | No |
| Cello | Bass + tenor, treble | No |
| Double bass | Bass + tenor, treble | Transposing: sounds an octave lower than written |
Percussion
| Instrument | Clef | Transposing |
| Timpani (kettle drums) | – | No |
| side drum | – | No |
| Bass drum | – | No |
| Cymbals | – | No |
| Piano | Treble, Bass | No |
Voice
| Instrument | Clef | Transposing |
| Soprano | Treble | No |
| Mezzo-soprano | Treble | No |
| Alto | Treble + alto | No |
| Tenor | Treble + tenor, bass | If treble clef, the voice sounds an octave lower than written; this is often denoted by a small 8 placed under the treble clef |
| Baritone | Bass | No |
| Bass | Bass | No |
关于英皇新版演奏家文凭：ARSM的分析以及感想
由于最近很多学生和家长向我咨询这个新出来的考试，也有很多人对于abrsm最新推出的演奏家文凭考试充满疑问。这里给大家一些我的看法和解答。
1 ARSM-Associate of the Royal Schools of Music 是英皇新推出的一个演奏家文凭考试，相比较过去的ABRSM-Dip，难度大大降低。那么难度降低的部分并不是它的选曲部分，选曲与过去相同。不同的是，这个考试取消了viva voce答辩环节，program notes曲目分析，和试奏。显然过去这个考试是给成年钢琴演奏者，和专业人士设计的，年龄小的琴童是无法参加的。小孩子弹过的曲目非常有限，经验不够丰富，对古典音乐史也不是很了解，很难在答辩中发挥，新的考试模式只有演奏一个环节，演奏一个30分钟的小型音乐会。
2 考试要求学生必须达到8级以上的水平，还好没有要求有效期。也就是说无论你什么时候考过的八级，证书都随时有效，都可以报名这个演奏家文凭。那么8级以下的学生是没有资格报名的。那么经过我反复的研究他的repertoire list，发现里面曲目的难度远超过8级，8级的选择其实比较宽泛，有难的，但由一些曲子并不难。Diploma的选曲完全不同，里面根本找不到简单的曲子。所以结论是：如果你的8级是刚刚考过，手指技术和基本功还没达到要求，就不要考虑这个考试了，它不适合你。如果你取得了8级优秀，有比较完善的手指技术，可以挑战一些有难度的曲目，那么再来考虑这个考试。
3 30分钟的考试里有10分钟的自选曲目时间，这10分钟可以选用你8级考试里演奏过的曲子，但一定要注意各个时期和风格的平均分配。整场演奏要包含不同的风格，和音乐时期。时间不够的同学也不用担心，根据官网大纲的规定，考试可以根据自己的选择，加入重复段落。
4 那么按照它广告上所写的，所有通过arsm的学生，有资格在自己的名字前面加上这个名头ARSM，实际上它也是英国皇家音乐学院荣誉会员的缩写（大概是这么翻译），官网的广告上又写到，在申请大学时，有一个乐器的高级文凭，可以获得大学录取的加分。（这一点，因为我不是教大学考试的，无法做评论）
5 关于我想说的，就是一定要注意学琴的按部就班，每个环节都不要拉下，千万不要为了盲目的快速通过考试超越自己的能力去强行考高级别的考试，而错过了训练手指技术的黄金时间。考试真是一个检查手段，而不能以应试为目的来学钢琴。 另外选曲列表里加入了大量浪漫主义时期和近现代作品，不仅难度很大，同时也很考验学生的音乐表现力。以我过去的教学经验，很多着重练手指技术的学生，弹琴演奏又过于死板。平时多去听音乐会，参加表演，锻炼自己的演奏发挥，也是必不可少的训练。
6 大概就想到这些，如果想到什么以后会再补充。
其实新加坡好的钢琴老师是有的，不过与数量庞大良莠不齐的“业余”钢琴老师比起来，从比例上来说的确不高。
说说我认为什么样的钢琴老师是好老师，第一条，这个老师一定要聪明，如果老师自己上课，教学的思路，都是模糊不清的，或者脑子里想着其他的事情，不如如何让学生多教学费，如何卖给学生两台钢琴，如何让这个学生快速升入高级别才能收取更高的学费。如果脑子里时刻以一个商人的想法去教学，而不是一个传道者的角度想着如何让学生能提高音乐素养和演奏技巧，那么他一定是个笨蛋老师，而且肯定是一个不快乐的老师。
第二说到聪明，这个老师必须要知道怎么练琴，能起效。这个话题太广泛了，关系到了我个人。在很长的一段时间里，甚至几年的时间里我自己都在用耗费时间的方法练琴，结果非常不理想。为什么现在中国的钢琴训练那么超前？7，8岁的小孩就能演奏很多贝多芬的高难度奏鸣曲。天啊，手都没长成型，哪来的技术。原因就是很多老师已经掌握了高效练琴的方法。如果你的老师上课的方式还是一个音符一个音符的教你，没有教你如何运用手臂手指的各个肌肉，没有教你如何用和弦的方式记忆，以及正确的坐姿踏板，还有关于肌肉爆发力和放松的问题，甚至不给你用节拍器。天啊。。。。。你就慢慢磨吧，也许几年后很快你会对钢琴失去兴趣，因为进步一定很缓慢，或者说有没有进步都不一定。
我特别喜欢与我周围的钢琴老师讨论教学问题，尤其是一些比我还要好的老师，我会非常虚心的根他们请教，而且真的是受益太多了！这些老师无私的把自己多年积累的方法，窍门告诉我，真的是应该心存感激。
说回今天的主题，最近学生络绎不绝的来，其实我的学额并不满，每周大概25个学生。而一下几种类型的学生我是不会再收了，以后只收好的。
1，经常请假的学生。因为常常请假，我教的东西这个月本来还会，还在，下个月就没了。。。。让我非常难受。我的工作室每年6月12月会放假2个月，这个时间足够各个家庭出国游。另外由于我个人有演出伴奏等安排，每年还会不定期的听课几周，算下来每年真正上课的时间也就9个月，再加上有ABRSM考试，两次小型音乐会，你算一算自己一年下来真正练琴学东西的时间有几次课呢？你再请假，我真不知道如何安排我的教学计划。
2，6岁以下的不收。原因很简单，因为6岁以下的孩子太难教了，我认为我自己没有这个实力。老师的引导，家长的陪练，要付出太多的心血，虽然我自己知道钢琴越早学越好，但这付出太多，而且看到的成效也不多。
3，家里的钢琴至少是yamaha U1级别以上，说个大概，一手钢琴价格不能低于1万新币，如果买2手的钢琴，价格不能低于5000. 说实话！低于这两个等级的钢琴，调琴师看见是最头疼的，因为怎么调音都不准。音也不准，触键也不舒服，有的几百块钱的破钢琴甚至踏板都是坏的，琴键按下去不弹回，等等，我就不说了，具体你可以问问你的调琴师。
4，10岁以下家长不陪练的不收了。原因很简单10岁以下的琴童的确需要家长陪练，并且陪同上课。那么10岁以上的呢，很遗憾，正常学琴10岁以后就算家长想陪练你也听不懂了。当然我说的是正常情况，也有很多学到了10岁弹音阶还很费劲的，那就另当别论了。
最后说一句发自肺腑的，好习惯早养成，有教养益终生。钢琴学习的窍门就在于此，开始把好习惯养成了，后面越学越轻松，对音乐会越来越有兴趣。
KANE MUSIC 