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

Your piano teacher skills
Chord Theory
Music theory
Sight Reading
Finger Placement & Hand Position
Performance Skills
Rhythm and Timing
Pedaling Techniques
AI modules
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Learnings
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15-days refund
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1-yr validity
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Types of learners for piano lessons
Piano for intermediate
Piano for advanced
Piano for beginners
Piano for adults
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
Grand Piano
Digital Piano
Upright Piano
Classical Piano

Piano concepts taught by Otha
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
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
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
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
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
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
Approach & tools used in piano classes
Chord & Scale Reference Apps
Metronome Apps
PDF Sheet Music Libraries
Ear Training Software
Virtual Piano Apps
Interactive piano lessons
Weekend lessons
Note taking
Open Q&A
Parent feedback
Chat for quick help

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