As a teacher, I value a certain degree of flexibility in my approach. I believe each student is unique, and has unique interests. If lessons are to be something rewarding, what the student gets out of the lessons should coincide with what he or she values. A one size fits all approach won't do.
I am a classically trained musician, and my expertise lies in classical music (Mozart, Beethoven, Bach, Schumann, Rachmaninoff, Debussy, etc.). As part of my teaching regimen (which includes reading music, of course), I include an emphasis on improvisation skills and ear training. Improvising is a valuable skill that is unfortunately neglected in the classical world. A student that can improvise can compose, sight-read, and adapt quite naturally to a wide variety of situations in which one would be asked to play or offer their musical skills.
If I ask you to describe to me any general piano teacher, you would most likely answer something like: Someone who meets with you once a week, and asks you to play the latest piece from <insert generic pedagogical series here>, offers some critique, then assigns the next piece in the lesson book, and the process repeats the following week. I have always found this approach wanting greatly for new students, especially those of young age. Most lesson book series (such as Faber & Faber) adopt a sort of integrated approach to teaching music. Students learn to read sheet music in incremental stages. Musical knowledge and technique are approached simultaneously as the student learns to read music from paper. My approach now is a bit different. I have found it quite effective to deal with piano playing in two ways: the actual act of playing and the skill of reading notes. Reading music from paper is a language in its own right, and can be frustrating for many students, especially those for whom reading music is a new skill. For this reason, I usually like to have lessons over the course of 60 minutes, and I separate that hour into two segments. One segment is devoted to dealing with technicalities that come with reading from sheet music, and the other is devoted to teaching to play the instrument by rote, without staff music. Ideally, what we learn together during the latter is something the student enjoys and has a personal interest in. The result is that a student's ability to play the instrument sees exponential growth in a relatively short period, while over time his or her reading ability grows in tandem.The result is that the students ability to play the instrument sees exponential growth in a relatively short period, while over time his or her reading ability grows in tandem.
New students are not the only type of student I teach, however. I have been playing for a long time, and have seen what feels like a lifetime of schooling and training. I have studied with some of the best pianists and musicians in the world, and am currently working on a Doctorate in Piano Performance from the University of Utah. Should I encounter a more serious or advanced student, I will by no means be in foreign or uncomfortable territory. Everything I have mentioned above about flexibility still applies–it is a fundamental to the art of teaching. Each student is unique, and requires a unique approach. When all is said and done, if the student is unhappy or unfulfilled, I have failed!
Specific payment schedule is currently negotiated with the parent/student
Payments are currently only processed through Venmo. Contact me for details.
Discounts are not given–everyone must pay the same rate. Studio scholarships/awards may be given contingent on the students fulfillment of their requirements and my discretion.
Unless a situation occurs that makes preemptive notification unreasonable, I require 24 hours notice for all cancellations. All efforts will be made on my part to communicate with the parent/guardian to schedule a makeup time, but no guarantees can be unequivocally given. If a makeup lesson cannot be scheduled and notice of the cancellation was given beforehand, a refund will be made.
For the most part, I will hold myself to the same standard as the student, though I must reserve the right to miss lessons for professional commitments. Every effort will be made to make up the lesson. If it cannot be done, then a refund will be given.
Parents are highly encouraged to attend at the least every other lesson. In younger students (or those who have not yet ”caught the bug”, which I intend to change) parent participation and active engagement in the music learning process is vital to a healthy musical education of the best possible quality.