Otha Lewis

Discover classical piano through personalized lessons that emphasize musical nuance and sound technique.

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Otha Lewis

Diploma degree

/ 55 min

Otha - Your piano teacher

My name is Otha Lewis, an American piano teacher of 7 years teaching students in both in personal and remote capacities. I hold an Associate's Degree in Piano Performance, soon graduating with a Bachelor's from California State University - Northridge. My approach to teaching ensures that students are an active participant in their learning not just at home in the practice room or executing the performance of a piece, but understanding and critically thinking about their intent, musicality, and process. I have learned that progress happens best when a student of any level has a well-rounded understanding of multiple musical facets: history, theory, ear training, rote, technique, creativity. Every student requires a unique approach, simultaneously tuned to their strengths and improving their weaknesses. Come join me in exploring the world of music! Let's grow together as musicians!

Otha graduated from Fresno City College

Otha graduated from Fresno City College

Your piano teacher skills

Chord Theory icon

Chord Theory

Music theory icon

Music theory

Sight Reading icon

Sight Reading

Finger Placement & Hand Position icon

Finger Placement & Hand Position

Performance Skills icon

Performance Skills

Rhythm and Timing icon

Rhythm and Timing

Pedaling Techniques icon

Pedaling Techniques

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Types of learners for piano lessons

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Piano for intermediate

Piano for advanced icon

Piano for advanced

Piano for beginners icon

Piano for beginners

Piano for adults icon

Piano for adults

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Piano for kids

Piano lessons at a glance

Anyone can read a method book and attempt to apply it. I did so for 17 years before I ever sat in front of a piano teacher, internalizing the good and the bad that comes without a guide or professional direction. Of the good comes my approach to teaching, relating back to the steps I took to learn by repetition and rote, and further developing upon such a foundation with the invaluable information and practice I continue to received in my college education. Not only must a student graduate from levels of piano playing through any number of methods to evaluate progress, they must do so with a thorough comfort in multiple levels of execution. Here, I separate my approach from other teachers, favoring constructive methods of the 19th century to supplement the modern pedagogical practice. My curriculum has served over 50 students, tailored to suit students of all levels and ages, and aims to remain as open as a possible to develop supplementary material as needed, composing exercises for a specific need if warranted.

Different types of piano lessons

Piano

Piano

Grand Piano

Grand Piano

Digital Piano

Digital Piano

Upright Piano

Upright Piano

Classical Piano

Classical Piano

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Piano concepts taught by Otha

Student learned about 13 hours ago

Student and Tutor reviewed the student's piano progress across several etudes (Opus 802, 299, 158), focusing on developing correct fingering and efficient wrist motions like arching and doorknob techniques. They discussed strategies for achieving evenness in runs and refining left-hand dynamics. The Tutor also outlined a revised practice schedule, prioritizing specific etude books to manage workload.

Mastering Wrist Motions for Extended Passages

Achieving Evenness and Dynamic Control in Runs

Strategic Practice Prioritization

Piano Intervals and Basic Harmony

Consistent Fingering and Hand Stability

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Student learned about 23 hours ago

Student and Tutor continued their piano lesson by reviewing existing scale variations and introducing the chromatic scale, including a new fingering pattern. They analyzed fingering concepts within Czerny Op. 299 and began a new piece, Czerny Op. 139 No. 3, focusing on simplifying left-hand patterns. The Tutor also provided updated sheet music and discussed acquiring a new pattern book for further practice.

Chromatic Scale: Right Hand Fingering

Czerny Op. 299 No. 1: Fingering Patterns (Measures 1-8)

Czerny Op. 299 No. 1: The 'Fourth Finger Rotation' (Measures 11+)

Opus 139 No. 3: Simplifying Left Hand with Anchor Tones

Fingering as Technique: Pattern Recognition

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Student learned 1 day ago

The Student and Tutor worked on interpreting a piano piece, "696 number 17," focusing on dynamic nuances, historical performance practices, and expressive articulation. They discussed how to introduce contrast and character through varied touch and rhythmic emphasis, particularly in the arpeggio and concluding sections. For homework, the Student was assigned Czerny 399 number 1, alongside existing pieces, with plans to adjust lesson frequency.

Modulation as a Structural Indicator

Dynamic Nuance & Character Interpretation

Recomposition & the Brillant Style

Advanced Articulation & Touch Control

Intentional Tempo & Rest Manipulation

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Student learned 3 days ago

Student and Tutor commenced piano lessons, focusing on foundational techniques. They covered essential piano posture, identified note names on the keyboard using black key patterns, learned finger numbering, and practiced basic five-finger patterns for both hands. The Student then began working on the first four measures of Opus 599, No. 1, combining different hand movements and opposing rhythms. The Tutor will provide a worksheet on posture and the first piece for practice, with future sessions dedicated to reading sheet music.

First Piece Application: Two-Hand Coordination (Opus 599

No. 1)

Melodic Movement: Steps vs. Skips in Playing

Essential Fingering System and Five-Finger Position

Decoding the Keyboard: Patterns

Placement

and Note Naming

Optimal Piano Posture: Foundation for Effortless Play

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Student learned 3 days ago

The Student and Tutor reviewed Unit 3 piano exercises, focusing on playing notes accurately in both treble and bass clefs. They then introduced Unit 4, thoroughly explaining time signatures, rhythm counting, and bar line placement, practicing with clapping exercises. For homework, the Student was assigned to complete pages 14-16 of the theory book and practice piano piece Number 3, including writing down left-hand notes for ledger lines.

Treble & Bass Clef Note Mastery

Time Signatures: The "How Many

What Kind" Rule

Clapping & Counting Rhythms

Bar Line Placement

Reading Bass Clef Ledger Lines

Analyzing Musical Motion & Structure

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Student learned 4 days ago

The Student and Tutor practiced piano pieces, focusing on rhythmic grouping, identifying melodic patterns using skips and steps, and understanding anchor tones. They also worked on two-hand coordination, with specific strategies for left-hand note recognition. For follow-up, the Student was assigned to practice three new exercises daily, repeating each five times.

Identifying Note Patterns: Steps and Skips

Anchor Tones for Pattern Analysis

Simplifying Left-Hand Coordination

Effective Practice Strategy: 3 New Repeats

Rhythmic Grouping: The "Watermelon" Method

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Approach & tools used in piano classes

Chord & Scale Reference Apps image

Chord & Scale Reference Apps

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Metronome Apps

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PDF Sheet Music Libraries

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Ear Training Software

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Virtual Piano Apps

Interactive piano lessons

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Weekend lessons

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Note taking

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Open Q&A

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Parent feedback

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Chat for quick help

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