My Lessons Are…
- Results that show, inside and out
- A personalized use of both Traditional and Suzuki methods (violin).
- Lessons that work for you, not against you.
My private teaching studio, based in Upland in Southern California, welcomes students of all ages and abilities. Taking private lessons is a great way to either begin afresh or continue building on the foundation you already have, with one-on-one instruction tailored to meet your personal needs and goals. Composition lessons, of course, may be taken either in person or via electronic means (such as Skype or via email, etc).
Please feel free to contact me via email for information and availability.
The study of music, to me, is a pure and beautiful Science.
And what I mean by that, is that Music Lessons go beyond the mere practicality of how to play your instrument well and sound good when you perform.
The Study of Music encompasses the in-depth, hands-on experience of understanding how vibrations emerge from your instrument, reach the ear, and are then interpreted by the mind, within the constructs of various cultures across the eras. It is a study of patterns, the subtlety of their execution, and the interpretation of what those patterns can mean. It is a study of culture and of world history. It is an enabling of both the exploration and expression of oneself through the innate knowledge of their Craft.
It is a gift for all, of all ages and backgrounds and abilities, not to be taken for granted. It is a part of the story of the Universe and who we are within it.
And this is why I do what I do!
My [Practical] Violin Teaching Philosophy:
I rely heavily on the early Suzuki books but am eager to add repertoire according to individual need and interest; I begin a new student on basic technique before introducing reading comprehension, but I begin music reading the moment the student gains basic stability on the instrument, usually by no later than the second tune; All technique, history, and theory are taught in-depth, and are based upon and using the current repertoire as the primary “etude,” with additional resources added as necessary.
Ultimately, I strive to grow in the student an informed sense of interpretation based upon historical knowledge of the times and composer of the piece; therefore, I encourage a reasonable diversity from student to student in the execution of pieces, as long as it is historically accurate, intelligently derived, and musically tasteful.