Cello Lessons in Bayonne, NJ

Instruments: Piano Guitar Violin Cello Viola Clarinet Bass Guitar Banjo Ukulele Double Bass Electric Guitar Classical Guitar Acoustic Guitar

I began playing cello in elementary school and started teaching cello lessons while I was in middle school. I love to teach and share music with my students. I graduated Manhattan School of Music in 1977  and proceeded to get my Masters degree and teaching certificate. I performed at churches, NJ Pops,musicals at the Count Basie theatre, Strand theatre, and Papermill Playhouse and I have played with several opera companies. Read More

Instruments: Guitar Voice Cello Synthesizer Banjo Ukulele Music Electric Guitar Classical Guitar Acoustic Guitar

Whether young or old, I am able to accommodate you with your preference of musical facilities. I cannot stress enough the importance on LOVING what you do and LOVING why you do it- Therefore, I generally communicate between lessons with students to be notified of their progress & educational desires. Through the deep practice I've undergone in Guitar Theory, Ear Training, Improvising, and Articulation (musically)- I strive to provide a balanced and engaging lesson in your string instruments of choice (PSA: I am able to teach Guitar, Cello, Ukulele, Electric Bass, and Music Production). Read More

Instruments: Cello

For beginning students who are children, for the first lesson i usually ask them to play whatever they have in hand then base on the standard to assign basic practice from the Suzuki cello books. Once the student has progressed to have a grasp of the fundamentals, I will begin to introduce solo repertoire appropriate for their first recital performance. For adults, I try to find out what the student is interested in, and guide my instruction accordingly to keep the lessons engaging and fun, no matter their ability level. Read More

Instruments: Violin Cello Viola Double Bass

I work in partner with students who are enrolled in public school lessons, and incorporate their school's method book (i.e. Essential Elements 2000 or similar), as well as rudimentary exercises and pieces appropriate for their level. I am a strong advocate of Kreutzer etudes, Hrimaly scales, and Suzuki pieces as learning tools. I guide my instruction based around the students' ability, needs, and goals. I believe that learning music is a constant conversation between student, teacher, and any others involved (parents, guardians, siblings, school music teacher), and like to keep communication open with weekly notes and homework assignments recorded in a music notebook. Read More

Instruments: Cello

For beginning students, I typically start with the Suzuki method books, because I think they lend themselves well to both kids and parents who are practicing with them. These books also come with accompaniment CDs which I find very important to learning. For adults, I like to have a conversation about what the student's goals are and what they are interested in and guide my instruction accordingly. For all, I want lessons to be engaging and fun, but to make real progress both in solo playing and collaboration. Read More

Instruments: Cello

I am a cellist, composer, and teacher currently residing in Upper Manhattan. I love performing, teaching, and creating exciting new music with all of my friends and students. I am currently pursuing my Masters of Music at the Manhattan School of Music, with an emphasis in Contemporary Performance. I am also a member of the Contemporary Music Ensemble "Tactus", which has been critically acclaimed by the New Yorker as The deepest, grandest noise of the musical season so far, and by the New York Times, "Ambitious . . . finely polished . . . spirited". Read More

Instruments: Cello

For beginners, I always reincorporate very crucial skills to possess with constant repetition (i.e.: intonation, posture, bow technique, finger positioning). On top of this, I build on rhythm. Many times, parts of my lessons include simply clapping, so that students get a grasp for rhythm and constantly improve upon it. In terms of classical training, for me, knowing the "feeling" of the piece is key. By building upon this feeling, I introduce different styles and different techniques that the student can learn. Read More