Piano Lessons Lowell, MA

Piano Lessons in
Lowell, MA

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Musika has been offering Lowell Piano Lessons since 2001. Our piano teachers create customized lesson plans for each student, and help you bring music alive one note at a time! Have Questions? Call Us Today at 978-319-6747
 
 

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Featured Lowell Piano Teachers

Featured Teachers

Jacque C

Instruments:

Teaching for 20 years both privately and in educational facilities. Still records and performs live. originally from Chicago, moved to Boston to attend Berklee College of Music. Has lived in the New England area since 1987. Currently lives in Foxboro, Ma. Has an in home studio as well as can travel local to a student's home.

Featured Teachers

Rebecca H

Instruments:

Originally from Louisville, Kentucky, Rebecca began her study of piano and violin at the early age of two. She obtained her Bachelor of Music degree from Oberlin Conservatory in both piano performance and vocal accompanying and began her Masters degree on a full scholarship in accompanying at the University of Miami. While in Miami, she was on faculty at the New World School of the Arts as staff vocal accompanist/coach. She has been in attendance at the Aspen Music Festival and School, the Bowdoin International Music Festival, and the Oberlin in Italy program in addition to receiving various awards at competitions including the Kingsville International Competition, New York Piano Competition,and the Oberlin International Piano Competition and is currently a member of the Music Teacher's National Association (MTNA).

Featured Teachers

Melanie C

Instruments:

I love teaching private lessons, and I have 8 years of experience doing so.  I have been playing flute for 23 years, and I earned my Bachelor's in Music Education and Flute Performance from SUNY Fredonia, and my Master's degree in Flute Performance from the Hartt School. I have performed with many different performers and ensembles including: the Chelsea Symphony, SEM Ensemble, Hartt Independent Chamber Orchestra, the Space Coast Flute Orchestra, the Long Island flute ensemble, jazz bass legend, Nat Reeves, the Jalapeño Quartet, traditional Irish harpist Hailey Hewitt, guitarists Yovianna Garcia, Scott Hill, and Nick Cutroneo, and the Alturas Duo.  I have performed for Composer's Voice Concert Series, the Connecticut Guitar Society, at the Canton Public Library, Prosser Public Library, Trinity on Main, the Windsor Historical Society, the New Britain Museum of Art, the Smithsonian Museum of Natural History, Windsor Art Center, and the Wadsworth Museum of Art, among others. In addition, I have performed in the pit for the musicals Once Upon a Mattress, Fiddler on the Roof, Anything Goes, Oklahoma, and Beauty and the Beast. I have also worked closely with many composers and has premiered new works by Nolan Stolz, Masatora Goya, Sean Pallatroni, Brendon Randall-Myers, and made the world premiere recording of the Delian Suite, from a body of international composers in the Delian Society. I have ecorded several works for Masatora Goya's album, to come out later this year. I recorded "Latinos Ni de Aqui Ni de Alla" on the Latin Heartbeat Orchestra album, El Regreso.

Featured Teachers

Virginia T

Instruments:

Being a daughter of a piano teacher, music has always been the most indispensable part of my life - Having a master of music degree in Piano Performance and Pedagogy (Bowling Green State University) and a bachelor of music degree in Music Education (San Jose State University), my education humbles me and elevates my uttermost love and unspeakable crying need for music. I've had the honor to study with some of the most renowned pianists, including Dr Gwendolyn Mok (whose teacher's teacher was Maurice Ravel/doctorate from Stony Brook University), Dr Namik Sultanov (doctorate from Moscow Conservatory), Dr Solungga Liu (doctorate from Eastman School of Music), and Michael Lewin (graduated from Juilliard School). As a performer, I was one of the winners of the 2009 SJSU French Music Competition, and one of the finalists of the 2013 BGSU Art Song Competition. In 2012-13, I served as the accompanist of the BGSU Men's Chorus, in which I've had the opportunity to participate in the performnace tour twice through 6 states along the East Coast. I also serve as a church pianist since Feburary 2014. Besides my performing endeavors, I have over 10 years of teaching experience (see My Experience). I can teach in fluent English, Cantonese, and Mandarin.   

Featured Teachers

Sung H

Instruments:

I approach my teaching and lead discussions with both a concert pianist's passion and a scholarly rigor. The objective of my teaching in the classroom is to strengthen my students' pianistic skills and to nurture them as leaders in the field of musicology, music education, and professional performance.   My teaching style continually adapts to students' career paths and needs. For a student who is willing to become a leader in musicology and music theory, I prepare a pop quiz and a test on transposition and score reading for each group piano class. I explain and rephrase concepts until each student understands the concepts completely. For a potential professional concert pianist, I aim to inspire passion for the piano and challenge him or her to explore a variety of repertoires. I also want to strengthen their understanding of musical character and have them associate literary figures with music such as Liszt's piano transcription of Mozart's Don Giovanni and Zelina, who both sing "La ci darem la mano".   For teaching at the university level, I usually arrive to the classroom early because most of students are eager to practice before class. In the beginning of the class, I tend to invite students to share their teaching and learning experiences. For example, a music education student might share how she had to assess her student's repertoire level to scaffold her curriculum. Through listening to their errors, I hope to improve my teaching skills so my students can achieve the most favorable outcome. Toward the end of the class, I sum up the most important theme. Then, I usually stay longer because I am delighted to answer student's questions.   I strongly want to emphasize that one must master self-criticism. As a human being, I may not be available all the time for my students. I provide students with a precise demonstration and make sure they understand the concept by having them play it back for me. When the student is practicing the opening of Schumann's Humoreske, Op. 20 on their own, one must use a advanced recording device while practicing in order to articulate the proper way of portato and melodic legato in outer voice. If a student says that buying an expensive recording machine is a burden, I can use mine to record an entire studio lesson and provide him or her a compact disc or send recorded files electronically. Mr. Sherman taught me: "The one indispensable to making music and the holy grail of our existence was the primacy and refinement of the ear. For it is through our ears and their channel to the heart that we can identify and evaluate the smallest, the most refined distinctions of sound that is endlessly varied and colorful, and which is the very root and wine of our existence, of our addiction." In order to fulfill the mission of the pianist, we must pay attention to smallest details in the music.   Since there are numerous pieces for the piano, I believe that one must choose a certain type of repertoire to study. For me, I am proficient and interested in the Romantic, Baroque, and post-serialist music repertoire. Baroque music requires legato articulation with the multiple contrapuntal layers. Post-serialist music requires strict rhythmic sense along with reversible rhythm, and it also important to know each composers compositional language. I have experience with my research on Pierre Boulez's Second Piano Sonata and performing Messiaen's "The Spirit of Joy" and Frederic Rzewski's "American Ballades". Through my experience with this repertoire, I will suggest repertoire for my students and help them practice piano passionately.   It would have not been possible without lessons and guidance from Wha Kyung Byun, Russell Sherman, and Christopher Taylor. Outwardly, the life of pianist is described as truly beautiful; yet in its core, it requires to have thousands hours of preparation until the completion of artistic perfection. At the final touch of one's performance, one must have steadfast willpower. I always tell myself over and over: "I can follow in a pianist's footsteps forever". In Boston and New York, after listening to solo recitals performed by Russell Sherman, I was deeply moved by his performance. I heard through his wife who described Mr. Sherman's sacrificial preparation. I learned from him that "if the students were to develop and flourish then the faculty must live up to these same high standards". I learned the importance of dedication and sacrifice to the piano.   Among memorable solo recitals, I vividly remember the end of recitals when I was listening to the sound of applause from the audience. For instance, after the last chord in Liszt's B Minor Sonata, I received positive energy from the audience, and I felt that I have improved over the decade. The length of the solo recital is shorter than the hundreds of artistic goals. One must endure trial and error. I love to share my experience of the recital process with gardening. One must water and raise flowers every single day and practicing daily with concentration will result in the completion of a beautiful garden. In every concert and recital of my own, I felt bliss and appreciation following the path of a musician with my own ability to persevere.   For me, playing the piano is the medium that allows me to dream and hope the existence of transcendental art. I believed in my gift throughout my education, and I have polished my pianistic and artistic skills every day. The process of learning will never end, and I will learn from my potential students.  

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