Tuition evidence video: https://leedsconservatoire.cloud.panopto.eu/Panopto/Pages/Viewer.aspx?id=f7ffae38-ca81-47b4-8c86-b45000ae0741
Lesson plan 1
| Name of Student: | Grace Parker | Name of Tutor | Tobias Wright | |||
| Date | 05/5/2026 | Time | 1pm | Room | 216 | |
| Aims | Holding the instrument correctly and making a sound |
| Objectives/ activities | Step by step description-based instructions on holding the instrument, by letting the student pick it up themselves first. Student-led teaching, enquiry-based teaching |
| Extension/ next step If the learner progresses particularly well they may also be able to: | Try a piece of music presuming the student can already read music to a sufficient level |
| Time (approx) | Activities | Assessment Methods | Resources |
| 1 mins | Dive into playing a familiar piece of music step by step | Testing Grace’s ability to read treble clef | N0 9. A Serenade Schubert solo for Euphonium Bflat |
| Time | Activities | Assessment Methods | Resources |
| 2 mins | Begin learning the C major scale | Informal and continuous formative assessment using the piano (Grace’s familiar instrument) to check and help fix pitching the correct notes | Accurate and clearly written C major scale, Euphonium, music stand, piano |
| Time (approx) | Activities | Assessment Methods | Resources |
| 2 mins | Explaining note names in relation to the fingering for those notes on the instrument. Keep this casual and light-hearted as beginning a to learn a brass instrument is extremely difficult. positive reinforcement | Continuing formative assessment with the use of piano to aid pitching | C major scale written clearly in treble clef, Euphonium, music stand |
Commentary and reflection on lesson 1.
This first short lesson covered introducing Grace to the Euphonium by having her hold it herself and then adjusting her grip to holding the instrument correctly, as shown at the 10 second mark in my tuition evidence video. I describe a hugging stance where the students right hand’s thumb hooks under a fake tubing and left arm wraps around the instrument to reach the fourth valve. Initially I let grace pick up and hold the instrument herself in a student-led method and in order to gauge her natural sense of comfort when holding a Euphonium especially in this lesson where we are standing. In reflection, sitting down for the first lesson may have been a better choice as although standing and playing is an important skill, with a large brass instrument such as a Euphonium this can be fatiguing on a new student. Initially I began the lesson by testing Grace’s ability to read treble clef with a familiar piece of music that we are performing in our group study. I used this as a measure of her application of knowledge of this music to a new instrument. However we didn’t spend much time on it as although she understood the notation it was proving difficult to produce the notes. This I anticipated so we I moved on swiftly with the lesson as to avoid any negative reinforcement that may discourage a student, although she responded positively with our initial progress on a piece that she already knows.
We moved on to learning the C major scale which was a major component and aim I’d set out for the lesson. Obviously Grace being a pianist has a strong understanding of the C major scale to my knowledge of her as a student, which includes the notation of the scale written in treble clef. However I decided to provide it none the less as I believe that visually matching the fingering being used on the Euphonium along with the sound the student produces (bear in mind her mental recall of a C major scale will be in concert pitch whereas a euphonium is in B flat) is extremely important to developing muscle memory and sight reading capabilities down the line as a brass player. The images below are what I had provided for her.
Upon reflection the use of the piano keys to help Grace pitch the correct notes in her mind before playing them was extremely successful, paired with a basic description of tongue positioning for low notes as shown in minute 1:57 of my tuition evidence video. Where low notes the tongue should be at the bottom of the students mouth to allow the correct airflow, and this is specially important for Euphonium as being a large instrument requires lots of strong airflow. Similarly at minute 1:48 I instruct Grace to be using a “tuuuuuh” noise to strengthen the beginning of her notes. I paired this with a simple description/ visualisation of what vowels she should be thinking about to pitch different notes, this is an essential basic concept for brass players. It works by thinking “oooooo” for low notes and “eeeeeee” for higher pitched notes. I describe this at the 2:38 mark of my evidence video. These embouchure and airflow teaching points are all drawn from my personal brass lessons as a beginner and are part of the core foundation to playing a brass instrument, hence why I drew on those experiences for Grace.
I felt it important to keep positively reinforcing Grace with informal phrases such as “yeah yeah, you’ve got it you’ve got it you’ve got it” to ensure she doesn’t get discouraged at all during the lesson, and to make it clear to her when improvements being made and that the effort she has put in to listen to and implicate my teaching is making a real difference in my perspective to her playing abilities coming along. This sort of informal converse is healthy in my opinion as a teacher and helps to keep a happy fun environment for the student, ensuring they persist with their efforts.
Lesson plan 2
| Name of Student: | Grace Parker | Name of Tutor | Tobias Wright | |||
| Date | 06/5/2026 | Time | 1pm | Room | 216 | |
| Aims | Holding the instrument correctly and making a sound |
| Objectives/ activities | Refine C scale work on dynamics and articulation |
| Extension/ next step If the learner progresses particularly well they may also be able to: | Use the fourth valve for D |
| Time (approx) | Activities | Assessment Methods | Resources |
| 3 mins | Revisit the C major scale | Ability to move through the scale without fingering reminders for each note, proving a developed memory of finger positions in relation to sheet music | C major scale written clearly in treble clef, Euphonium, music stand |
| Time | Activities | Assessment Methods | Resources |
| 5 mins | Play bottom C crotchets and introduce staccato and legato | Be able to play the exercise independently | Sheet music, stand, Euphonium, piano |
| Time | Activities | Assessment Methods | Resources |
| 2 mins | Begin to incorporate the fourth valve for use on D notes below the stave | Listening attentively to ensure pitching D note correctly, and fixing any issues that may arise, potentially formative informal quiz on fingering for each note in the C scale including the newly introduced fourth valve | Euphonium, music stand |
Commentary and reflection on lesson 2.
This next lesson I began by introducing some dynamics and articulation to break up the focus on scales and introduce some detail to Grace’s playing, which would develop her understanding of not production with the Euphonium. This is, I thought, an especially important thought process for Grace as the difference between Euphonium and piano in terms of singular note production is the freedom of articulation available in brass instruments. Lessons like this can serve as the foundation for a student who knows how to play piano realising the opportunities in articulation and dynamics that a Euphonium can have, such as vibrato, crescendos and swells through long notes as well as, ‘fp’ and ‘sfz’.
Initially I was impressed with Grace’s ability to recognise a mistakes and eve the note she played instead of the one she meant to, at minute 5:06 of my video evidence. Whereby she plays a G meaning to play a C and identifies this. In reflection as a tutor this probably warranted more praise than I gave it, however I believe it serves as a testament to her natural playing ability and musicality.
I practiced student-led teaching in this lesson which I didn’t seek out specifically but felt that within our student-tutor relationship served her progress and our productivity well. This is proof in minute 5:18 where Grace asks me to play a C on the piano to aid her in pitching the note and having a mental vision of the sound she should be making. Again this piano aid seemed to greatly improve Grace’s ability to pitch the low C note and is a reoccurring testament in our lessons. In terms of my assessment of Graces ability, at minute 5:51 she displayed restarting the activity independently managing to play through the first few notes of the scale without the need for reminders on her fingering, which shows a distinct level of development in her playing and muscle memory.
When introducing playing staccato notes I emphasised producing a “tuuuh” sound with the mouth to help Grace better articulate the style we were looking to develop. However after realising that staccato notes played on a bottom C might be slightly unachievable at this level, we collectively decided to move the note to a G. This healthy converse between tutor and student where I recognise an opportunity to alter the activity and Grace finds comfort in that change means the lesson can progress naturally without forcing a student into uncomfortable situations that they may find too difficult or challenging. In my opinion this is extremely important for beginners as personally starting out I was often discouraged by excessive strict teaching while learning Euphonium, which resulted in me being unmotivated to practice at home and developing a sense of dread for the following lesson. This can become a very unhealthy cycle that in my teaching methods I tried consciously to avoid.
Eventually we moved the target note for staccato to any comfortable note so that we could focus on the articulation rather than the note itself which I felt was not important, and definitely not the purpose of the exercise. I then decided to focus on tone, as in practicing student-led teaching Grace voiced her concern at minute 8:12 that she wasn’t happy with the quality of the note she was producing. This is where I decided to pivot to a longer note exercise, from memory, which works on getting a full tone from a long note, naturally improving airflow through the instrument. This instantly improved her tone and enjoyment in the progress and development, as we both stated “that’s a leap” voicing some mutual positive reinforcement.
As we discussed fingering once more for the C major scale,
I decided to introduce the fourth valve option as a further activity since I was happy with her current fingering knowledge, at minute 10:27 in my tuition evidence video. We also then recapped on fingering in a different light where I advised her that switching fingers over valves is unadvised, as this isn’t proper technique.
In retrospect this lesson was productive and healthy, although I could’ve concerned myself with further preparation before the lesson so that stopping to write on music doesn’t waste the student’s time.
Lesson plan 3
| Name of Student: | Grace Parker | Name of Tutor | Tobias Wright | |||
| Date | 07/5/2026 | Time | 1pm | Room | 216 | |
| Aims | Begin learning our first piece of music |
| Objectives/ activities | Know the key signature of the music in relation to the Euphonium |
| Extension/ next step If the learner progresses particularly well they may also be able to: | Use the fourth valve for D in context of the music |
| Time | Activities | Assessment Methods | Resources |
| 5 mins | Analyse new piece of music | Be able to understand the key signature of the piece | Sheet music, stand, euphonium, piano |
| Time (approx) | Activities | Assessment Methods | Resources |
| 10 mins | Begin to learn the key signature of the music and play the first bar | Ability to move through the scale without fingering reminders for each note, proving a developed memory of finger positions in relation to sheet music | B flat major scale written clearly in treble clef, euphonium, music stand |
| Time | Activities | Assessment Methods | Resources |
| 5 mins | Play the first few bars potentially involving the fourth valve | Acknowledge a clear understanding of the music and effort to learn and play it | Euphonium, music stand, sheet music |
Commentary and reflection on lesson 3.
For the beginning this lesson of this lesson I’ve picked a piece of music that’s simple with not much movement around the stave and incorporates some of the skills we’ve been working on. My plan was for this piece to show the progression made in our lessons. This piece is seen below.
As you can see this piece makes use of staccato notes and D notes for the fourth valve. Although we haven’t covered slurring Grace has a thorough understanding of this concept, which comes with her ability to read music prior to our lessons.
First of all I test Grace on the key signature of the piece being B flat. I then begin working on learning the B flat major scale, however in retrospect the low B flat note is close to out of range for a beginner and this is something I should’ve considered prior to setting the aim of B flat major. At 13:29 Grace asks to hear me play the scale so she can get a grasp of what it should sound like. This is another great example of student-led teaching where I am open to fill the requests of the student provided they ask for help or demonstration in this instance. In the video I try to play slowly so Grace is able to take in my embouchure and fingering. We then recap on the fingering for B flat scale, to which I annotate the sheet music as seen below.
After annotating this scale I ensure to test Grace on the key signature, and walk through a recap on the fourth valve for D, which is the starting note for our new piece of music.
At minute 16:14 I remind grace of our staccato marking, although it is an aim for my lesson I understand the difficulty of learning and playing a new instrument and how this may affect her concentration on dynamics and articulation as oppose to notation and fingering. Essentially there’s a lot to think about so gentle reminders such as this help to keep the lesson on track so that Grace can extract the most out of her playing. In addition to this I decide to slow the piece the piece down after a few missed pitched notes and take the piece from the top note by note. This abrupt change in the teaching style gives the student a chance to recover and reset. From personal experience, having to play a difficult part through despite constant mistakes can build up stress and lead to worse playing. Therefor it’s important to take a step back and slow things down.
There are points such as around minute 17- 17:15 where grace without support is nailing new notation such as the E flat which has different fingering and it’ was important that I recognised this and gave it some positive encouragement, keeping the lesson on a healthy forward moving track.
Throughout this lesson I continue to support Grace in terms of correcting technique like keeping fingers on valves. Along with anticipating new notation and working on the concept of airflow between notes higher in the stave and below the stave. At minute 19:28 I delve into these ideas of filling the body with air from the abdomen up, and tick marks which is unique to wind instruments and something that she probably has never ran into with piano score.
In retrospect giving Grace some extra notation and exercises to work on would be something different I’d change in my teaching methods. Additionally further preparation and thought into the constraints of beginner brass players is something I could’ve improved and something to be worked upon. Although I am content with my approach towards tutoring in a student-led open communication style, where the students comfort, confidence and considerations are top priority.
