Alis - Piano tutor - London
Alis - Piano tutor - London

One of our best tutors. Quality profile, experience in their field, verified qualifications and a great response time. Alis will be happy to arrange your first Piano lesson.

Alis

One of our best tutors. Quality profile, experience in their field, verified qualifications and a great response time. Alis will be happy to arrange your first Piano lesson.

  • Rate £70
  • Response 24h
  • Students

    Number of students Alis has accompanied since arriving at Superprof

    50+

    Number of students Alis has accompanied since arriving at Superprof

Alis - Piano tutor - London
  • 5 (28 reviews)

£70/hr

Contact
  • Piano

Royal College of Music DMus Pianist-Researcher offering piano lessons for serious students

  • Piano

Lesson location

    • At Alis's house: London

Ambassador

One of our best tutors. Quality profile, experience in their field, verified qualifications and a great response time. Alis will be happy to arrange your first Piano lesson.

About Alis

Alis An, a Canadian pianist and Doctor of Music candidate at the Royal College of Music, is pursuing her research under the guidance of Christina Guillaumier and Danny Driver, supported by an RCM Studentship. Alis' concerts have taken her across Canada, France, Italy, Switzerland, the Czech Republic, and the UK; recent highlights include an appearance as the soloist for Chopin’s Concerto No. 1 with the Orchestra dell’Università di Milano-Bicocca, in Autumn 2023, at Villa Olmo. Her performing experience, which extends to non-traditional repertoire, led her to collaborate with groups such as London-based contemporary music ensemble Cat’s Cradle Collective. Additionally, her performances for contemporary music initiative 900presente’s productions, including Bruno Maderna's Don Perlimplin (2020) and Philippe Manoury’s Hypothèses du sextuor (2022), were broadcast on Radiotelevisione Svizzera.

Her doctoral research critiques contemporary methods of piano technique pedagogy, which looks to technical perfection as a model but lacks the vocabulary to coherently articulate the process by which technical perfection is achieved. Drawing on her own artistic practice, historical pedagogical texts, and interdisciplinary tools such as movement theories, Alis proposes a reframing of technique grounded in phonomotor connection—the link between sound and movement. Her work aims to offer a coherent and embodied framework for piano technique, addressing widespread dissatisfaction with existing approaches and challenging institutional assumptions about what it means to be technically “complete.”

Alis has received generous support from the Alberta Foundation for the Arts, the Ranald and Vera Shean Memorial Foundation, the Winspear Fund, and the Anne Burrows Music Foundation. Her accolades include the ’19/‘20 Pauline Hartley Award at the Royal College of Music, recognition at international competitions like the Premio E. Tschaikowsky, the Tadini International Music Competition, the Montecatini International Piano Competition, the Canadian Music Competition, and the International Music Competition Paris. Her mentors included William Grant Naboré, Natalia Trull, Sofya Gulyak, Nigel Clayton, Dmitri Alexeev, Gordon Fergus-Thompson, and more.

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About the lesson

  • All Levels
  • English

All languages in which the lesson is available :

English

In my piano teaching practice, I believe that students should receive a well-rounded education. Each lesson should encompass various aspects of music, enabling students to make tangible progress, overcome challenges, and strive for higher artistic ideals. My primary objective is to assist students in establishing a strong foundation in musicianship and technique, nurturing their appreciation for classical music, and cultivating self-awareness, taste, and discipline. Through spending time in my studio, students will acquire the essential tools to become independent learners. Together, we embark on a journey towards achieving concrete results aligned with their individual goals. The duration of their studies with me is an opportunity for them to develop the necessary skills and knowledge. As we progress, students will gradually gain the independence and proficiency they need to continue their musical growth beyond my studio. Having been fortunate enough to study under exceptional pedagogues worldwide, I understand the significance of both helpful and unhelpful teaching experiences. I am passionate about piano pedagogy and approach teaching with great seriousness. I empathise with my students and can relate to them, and I communicate with honesty and sincerity. I am committed to continuously improving my understanding of their musical needs. My piano lessons, lasting a minimum of one hour, are ideally suited for students who possess a strong drive and a genuine interest in music. Designed for individuals committed to a regular weekly schedule and consistent practice, my instruction fosters growth through dedicated effort. I teach students of all ages, spanning beginners to those pursuing the LRSM. With experience teaching at the conservatoire standard, I welcome advanced students with similar aspirations. If you seek a rewarding learning experience that nurtures musical development through commitment and hard work, my lessons provide the perfect platform for your journey.

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Rates

Rate

  • £70

Pack prices

  • 5h: £350
  • 10h: £700

Details

I teach piano lessons at my home studio in SW6, Fulham, 10-15 min walk from either Parsons Green and Fulham Broadway stations. Lessons are available in-person, online, or as a combination of both, though in-person is highly recommended. Please note that I do not offer lessons at students’ homes. Upon securing a spot in my studio, students are required to agree to my teaching terms, which include a commitment and cancellation policy. Rates are subject to a small annual increase.

Current weekly lesson availability:

Sunday: No availability left
Monday: No availability left
Tuesday: 3.40-4.40pm (weekly basis)
Wednesday: 3.05-4.05pm (weekly basis)
Thursday: 2.45-3.45pm (weekly basis)
Friday: 3.20-4.20pm (weekly basis starting from 10 Oct), 4.25-5.25pm (weekly basis)
Saturday: No availability left

*Availability is limited, but you’re welcome to inquire about odd or daytime hours. Listed times are up to date but change as I process requests, with spots filled on a first-come, first-served basis. Let me know if you’d like to join the waitlist.

Alis's Video

Find out more about Alis

Find out more about Alis

  • When did you first develop a passion for music and your favourite instrument?

    As with many other young children, I started off on the piano at the insistence of my parents, and at that age, I was very much not interested in playing the piano. I made a deal with my parents that I was allowed to quit piano when I finished Grade 10 Royal Conservatoire of Music (Canadian approximate of grade 8 ABRSM), and that's exactly what I did. However, with the RCM we had to do theoretical and music history components to be fully certified, so when I took music history lessons, something in me clicked. I started to understand the context and historical importance of the pieces I was playing. I became invested and since then have been playing the piano by my own volition.

    I am grateful the piano is the instrument I ended up playing because of its orchestral possibilities and because of the role it has in many chamber ensembles. However, by sound alone, I'd say sometimes I prefer the cello or the horn.
  • Is there a particular type of music or artist that you listen to on a loop without it driving you crazy?

    Although I listen to a variety of music and enjoy being surprised by songs/pieces from genres I am prejudiced against, the only genre I truly don't tire of is jazz, especially Bill Evans and Nina Simone. After listening to myself play for too long in a day, however, I prefer silence.
  • Explain to us the most difficult or riveting course you could personally give to a student of music.

    The most difficult lesson is different for everyone, as we all learn differently, and have different strengths and weaknesses. Weaknesses need to be addressed, and that is always difficult to do in an honest and consistent way.

    Over the course of many years, the lessons that I personally found the most challenging, were 1. learning to seek a variety of sounds and the associated physical movements, 2. reacting to harmonies, 3. developing a strong conviction for my own vision of the music, and 4. creating a wider range of dynamics meaningfully.
  • What do you think is the most complicated instrument to master and why?

    I can't say which instrument is the hardest as I only play one. I can only talk about how difficult the piano is because it's such a sensitive instrument. It responds in a myriad of sound possibilities from the way one's hands approach the keys, and beautiful results could be created if the pianist knows exactly the sound they want, just as well as how to physically achieve it. But it's also much more difficult to be a musician than to be an instrumentalist.
  • What are your keys to success?

    In relation to just learning to play the piano, the only key is grit; that is to say, a willingness to work consistently outside of lesson time, in a continually more purposeful way. I always tell my new students that there is no hope of improving at even a remotely encouraging pace if the only time they touch a piano is during lesson time.

    However, to succeed in the music world as a professional musician, a great deal of luck, open-mindedness, and business-mindedness is required.
  • Name three musicians you dream of meeting in your favourite bar in the early hours of the morning. Explain why.

    J. S. Bach and Franz Liszt; they have both had such unique trajectories, and I would love to know more about their life and music in their own words. I would also love to have a drink and chat with Lazar Berman, the teacher of one of my most important teachers, who was a remarkably kind person and who has played so many pieces in ways that reached above and beyond the height of my musical ideals.
  • Provide a valuable anecdote related to music or your days at music school.

    I don't have an anecdote, just a few observations. Having worked with more than thirty piano teachers in private lessons, conservatories, masterclasses, and summer academies, it was apparent to me that there are many (sometimes violently and aggressively) different opinions when it comes to music and piano-playing. As someone who likes to do things "correctly", I had to eventually form my own convictions, otherwise I would have drowned in the opinions of others, however professional those opinions were. I also gradually realised that there is no teacher who can teach everything (though sometimes they come close), and that one needs to be taught specific things at certain stages. The famous ones are not always the best teachers, nor are the best musicians always the most successful. Gaining self-awareness is a lifelong process, but it will enable one to know precisely what they need to learn in that moment, and from whom.
  • What are the little touches that make you a Superprof in music?

    I think of music as by people and for people. For me, the interest of music is just as much in the sounds produced as the stories they tell. As such, I do not think of performing and teaching, nor of any other activity undertaken by a musician as separate but rather all as part of the active life of a well-rounded musician, whose role is to connect with others, listen to them, tell stories, and pass on knowledge whether on the concert stage or in a classroom. My enthusiasm for teaching comes from my deep curiosity and natural affection for people, as well as my desire to preserve, share, and partake in the passing down of the very important piece of history that is music.

    When students come to me, I think it's apparent to them that I take an interest in them, who they are, how they react to things, where they want to get with music, and that I am continually questioning how to best help them. I believe that is part of what makes me a good teacher.
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