Samantha Chang has maintained a private teaching practice for over ten years. Subjects taught include: flute, piccolo, fife, low flutes, piano, rudiments, and music history.

For inquiries, please contact Samantha at:

(416) 801-9196

Theory Topics

Basic Rudiments
Notes, Rests and Values
Semitones and Tones
Major Scales
Key Signatures
The Minor Key
Identifying the Key of a Melody
Writing at the Octave
Italian Terms
Melody Writing
Rhythmic Dictation

Intermediate Rudiments
Major Scales Up to Seven Sharps
Major Scales Up to Seven Flats
Accidentals Double Sharp
Accidentals Double Flat
Minor Scales Natural Minor Scales
Minor Scales Harmonic Minor Scales
Minor Scales Melodic Minor Scales
Technical Degree Name for the Notes of the Scale
Chromatic Scales Melodic Chromatic Scales
Chromatic Scales Harmonic Chromatic Scales
20th-century Music Whole Tone Scales
20th-century Music Pentatonic Scales
20th-century Music Blues Scales
20th-century Music Octatonic Scales
Rewriting Melodies using a Key Signature
Intervals Augmented Intervals
Intervals Diminished Intervals
Intervals Inversion of Intervals
Rhythm Compound Time
Rhythm Thirty-second Notes
Rhythm Thirty-second Rests
Rhythm More Irregular Note Groupings
Inversion of Triads
Cadences Perfect Cadence
Cadences Plagal Cadence
Cadences Cadences in Chorale Style
Transposition from Major Key to Major Key
Correcting Errors
Italian Terms and Signs
Melody Writing

Advanced Rudiments
Enharmonic Notes and Scales
C Clefs Alto Clef
C Clefs Tenor Clef
More on Scales Tetrachords
More on Scales Technical Degrees
20th-century Music Modal Scales
20th-century Music Pentatonic Scales
20th-century Music Minor Pentatonic Scales
20th-century Music Whole Tone Scales
20th-century Music Twelve Tone Technique
20th-century Music (Minor) Blues Scales
20th-century Music Tone Clusters
20th-century Music Polychords and Quartal Chords
Intervals Simple Intervals
Intervals Enharmonic Changes
Intervals Compound Intervals
Intervals Inversions of Compound Intervals
Intervals Scales Containing a Given Interval
More on Triads Augmented and Diminished Triads
More on Triads Scales Containing a Given Triad
More on Triads Chord Position Numbers (figured bass)
Seventh Chords Dominant Seventh Chords
Seventh Chords Diminished Seventh Chords
Imperfect Cadences In Keyboard Style
Imperfect Cadences In Chorale Style
Cadences and Melody Writing
Rhythm Hybrid Time
Rhythm Changing Time Signatures
Rhythm Charts: Duple, Triple, and Quadruple Time
Rhythm Syncpation
Transposition from Minor Key to Minor Key
Score Types String Quartet Score
Score Types Modern Vocal Score
Score Types Vocal Score with C Clefs
Correcting Errors
Transposing for Orchestral Instruments
Terms and Signs Musical Terms
Terms and Signs 20th-century Signs and Notations
Analysis Form in Music
Analysis Tierce de Picardie
Analysis Non-Harmonic Tones
Analysis Implied Harmony

History 1: An Overview
The Materials of Music
The Baroque Period
Vivaldi and The Four Seasons
Bach and The Well-Tempered Clavier
Handel and Messiah
The Classical Period
Haydn and The String Quartet
Mozart and Eine Kleine Nachtmusik
Beethoven and Symphony No. 5
The Romantic Period
Schubert and The German Art Song
Chopin and Romantic Piano Music
Berlioz and Symphonie Fantastique
Bizet and Carmen
Puccini and Madama Butterfly
The 20th Century
Debussy and Impressionism
Stravinsky and His Ballets
Leonard Bernstein and West Side Story
Alexina Louie and The Canadian Contemporary Music Scene

History 2: Middle Ages to Classical
Four Eras of Music History
Gregorian Chant
Dance Music
Keyboard Music
Chamber Music

History 3: 19th Century to Present
19th-century Romanticism
Felix Mendelssohn
Robert Schumann
Franz Liszt
Johannes Brahms
Giuseppe Verdi
Richard Wagner
Pyotr Il'yich Tchaikovsky
Gustav Mahler
Bedrich Smetana
Four Late Romantic Composers
20th-century Musical Style
European Composers in the 20th Century
French Music: Ravel and Messiaen
The Second Viennese School: Schoenberg, Berg, and Webern
Bela Bartok and Folk Elements in Art Music
Russian Composers: Prokofiev and Shostakovich
Eastern European Composers: Ligeti, Lutoslawski, and Gorecki
Kurt Weill and The German Cabaret Tradition
American Music in the 20th Century
American Jazz: The Music of Joplin, Ellington, and Gershwin
Copland and The Emerging American Nationalism
The American Avant-Garde: Cage and Crumb
Electronic Music
Minimalism: Reich and Glass
Canadian Music in the 20th Century
Representative Canadian Composers and Works
Canadian Performing Artists and Ensembles

Music Studio Policies

Royal Conservatory of Music Certified Teacher


General information for parents

How to contact your teacher:

Samantha Chang                                   
RCM Teacher Number 52969

Email: samantha.studio@gmail.com
Phone: (416) 293 1302
(Voicemail messages will be returned the next day)

Payments for lessons

Lessons are to be prepaid monthly by cash or cheque. (Please make cheque payable to “SAMANTHA CHANG” with student name and subject printed on it.) A receipt will be issued once payment is received. (Weekly payments may be possible, please discuss with teacher.) A $45 charge will be applied for each NSF or Stopped Payment cheque. A 5% interest charge per month will be applied to past due tuition fees. (After the 15th of each month.)


If the teacher misses a lesson, he/she will inform the parents at least 48 hours in advance, and that lesson will be made up later in the term. Similarly, the teacher must be informed of any student absences at least 48 hours in advance, at which time, the teacher will try to re-schedule the lesson. If no advance notice were given, the parents are expected to pay for the missed lesson. (Exceptions for prolonged illnesses or emergencies.)


If the student is late, he/she may only receive the balance of his/her lesson. If the student is more than 15 minutes late, the teacher reserves the right not to teach.

Helping your child progress:

The teacher will:

encourage your child to learn how to make music

appreciate the work that your child does in the lesson and at home

work with your child to develop lifelong learning and appreciation of music

care for your child’s safety and happiness

let you know how your child is getting on

contact you if there are problems affecting your child’s music making

As a parent or guardian, you can help by:

ensuring that your child attends lessons regularly and on time

supporting your child’s learning including regular practice

ensuring that your child has what he/she needs to take a full part in all activities

encouraging your child to join in musical activities at school, and the community

reading and signing the record book each week

Record Book

A record book will be given to the student at the start of each academic year. If for any reason the student misplaces this book, there will be a replacement cost of $4. Please ensure that your child brings their record book, music, and instrument (if applicable) to class every week.

Recommended Theory Textbook List

Basic Rudiments - Keyboard Theory Basic Rudiments by Grace Vandendool (published by Frederick Harris Music)

Intermediate Rudiments - Keyboard Theory Intermediate Rudiments by Grace Vandendool (published by Frederick Harris Music)

Advanced Rudiments - Keyboard Theory Advanced Rudiments by Grace Vandendool (published by Frederick Harris Music)

Three-in-One (Basic, Intermediate, and Advanced Rudiments) - The Complete Elementary Music Rudiments by Mark Sarnecki (published by Frederick Harris Music)

History 1: An Overview - Exploring Music History A Guided Approach Volume 1 Baroque to the Modern Era by Janet Lopinski, Joe Ringhofer, and Peter Zarins (published by Frederick Harris Music)

History 2: Middle Ages to Classical - Exploring Music History A Guided Approach Volume 2 Middle Ages to Classical by Janet Lopinski, Joe Ringhofer, and Peter Zarins (published by Frederick Harris Music)

History 3: 19th Century to Present - Exploring Music History A Guided Approach Volume 3 19th and 20th Centuries by Janet Lopinski, Joe Ringhofer, and Peter Zarins (published by Frederick Harris Music)

Care of Instruments



handle your instrument carefully at all times
keep it in a safe place at home and at school
tell your teacher if anything seems not to be working properly
dry it out properly every time: your teacher will show you how
clean the joints with a cloth so they fit together
be careful with the tin metal ends of the joints

Do not            

apply excess pressure to the keys when handling
stand the instrument up on its end, even if it will balance like that
rest the instrument on a music stand
leave it in sunlight or anywhere else hot
let friends play it: it’s unhygienic and may get broken
make any adjustments to the instrument
keep music or anything else in the case: it will damage the keys
leave it in school overnight



keep the keyboard covered for general protection
keep instrument away from damp, wet or dusty conditions

Do not            

use stickers or marker pens on the keys
play the keys with dirty or sticky fingers
rest your weight or put heavy objects on the instruments
use excessive force on the keys
eat or drink near the instrument

General Tips for Students

Perhaps you think playing is fun and practicing is boring. Try not to think of them as separate activities!

Practicing and playing are the same, practicing develops your skill in playing. Practice because you want to, and enjoy your practice.

Practice in a good room. Have a ‘warm up’ before starting.

Keep to a fixed time. If your practice is part of your daily timetable, it cuts out the temptation of finding silly excuses why you can’t practice.

Plan your practice. Work out how much time you have and fit this into your plan.

Know what you are preparing for your next lesson but leave time for your own musical explorations in both playing and listening. Listen to a variety of music, discover different music.

Use your practice notebook as a record of what you want to achieve and what you are achieving. Make long term aims, and short term goals for a weekly and daily basis.

Devise your own exercises to help you with your own particular problems. Never strain your muscles. Play new techniques for a very short time to start with and build up gradually. Remember you can discuss difficult stages with your teacher. Difficult phases are temporary – they will pass!

If you are short of time one day. It is not a good idea to scramble through all your work. Take one specific job and practice that and the rest can wait until the next day.

Follow the ‘little-and-often’ principle, not ‘wait-until-just-before-my-lesson-and-practice-frantically’ approach.

Praise and criticism should always encourage you to believe in your own playing and make it more fun and satisfying. Criticism is not something to be ashamed of, we all need help and good criticism should always help.

Never undervalue yourself. Accept praise with the seriousness it deserves and use criticism as a learning tool, discuss what has been the subject of criticism.

Understand how both self praise and self criticism are essential to building up your own confidence.

Why don’t you share praise and criticism with your friends? By sharing ideas, music becomes more exciting.

Playing before other people is a recognition of your ability to play. Never perform until you are confident in your playing. Play with friends!

The confidence you build up gives you real pride in your playing. Confident playing gives enjoyment to both the player and listener.

Before playing, sit quietly, close your eyes, breathe deeply, and think of the music.

The more you know about your music and playing, the more fun it is.

Look at your chosen person in the audience. Don’t pretend there is no audience. They are essential to your performance.

Take time before you begin. When playing in a group, you must wait until everyone is ready to start.

Feel the excitement of anticipating the music you are about to play.


Leave plenty of time to prepare for an exam. Taking an exam should be your choice. An exam must encourage you.

List everything you need to know for your exam, and track your progress. You are a good judge of yourself.

Test yourself with sight-reading and ear tests.

Think of techniques (scales, exercises, studies) as tools that are part of the music, not a bunch of boring automatic movements, use them musically.

When you take the exam, don’t rush and really listen to yourself – BELIEVE IN YOURSELF. If you have prepared well, you have nothing to be afraid of.

About Samantha

Flutist, conductor, musical tour de force
Hailed by The WholeNote Magazine for her “lyricism, resourcefulness, and strong personal commitment to the flute”, Canadian flutist Samantha Chang is a musical tour de force and rising artist. Her mandate to perform, to teach, and to create opportunities for aspiring flutists is nothing short of astonishing.


Upcoming Events

Saturday, May 5, 2018 7:30 PM
OCMS-SO 19th Annual Concert at Yorkminster Citadel (One Lord Seaton Road, North York, ON)

Sunday, June 10, 2018 2:00 PM
CASTYO 25th Annual Concert at Glenn Gould Studio (250 Front Street West, Toronto, ON)

View Schedule

Bolling for Flute

Expected date of release: 2019
Samantha Chang is excited to be working with Mark Camilleri, Mark Inneo, and Pat Kilbride in recording Claude Bolling's works for flute. Stay tuned for updates!

Bolling at Koerner Hall

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