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Featured Flute Teachers Near Wayland, MA

David R

David R

Instruments:

I have completed two pedagogy training programs. During my graduate studies at the Longy School of Music, I took a two semester sequence of pedagogy coursework which included teaching two high school students under the supervision of a Longy flute professor. I also participated in the Teacher Training Program at the Boston Flute Academy where I taught workshops to adults and junior high students on sight-reading and intonation, and masterclasses to advanced junior high and high school students. Through these experiences I learned that teaching gives me a great deal of positive energy and that I love watching others make improvements in their playing.

Melanie C

Melanie C

Instruments:

Students learn best in a relaxed, nurturing environment.  I believe in order to successfully teach, I need to be encouraging, and truly care about the students.  My goal is to always have the students improve.  To do this, I think students need a well-balanced diet of tone (Moyse De la Senorite can be used), technique (scales for younger students, Maquarre Daily Excercises or Taffanel and Gaubert Daily Excercises for more advanced students), etudes (Melodious and Progressive Studies), and pieces (I consult the NYSSMA manual for appropriate pieces for the students level).  Having taken Alexander Technique, I strongly emphasize posture so that students can use their bodies in the most efficient way.  Individualized instruction allows for teachers to cater to the needs of the student, challenging the students without frustrating them.  Everyone is unique and learns at different rates, so no two lessons will ever be the same.  I teach students how to practice, so that they can progress outside of the 30 min. or hour long lesson.  As for performance standards, I have used rubrics for tone, technique, articulation, phrasing, and breathing.  Once strengths and weaknesses are assed, I create a plan to help the student improve, which is what students and teachers want to hear.

Sarah H

Sarah H

Instruments:

I am a passionate and patient instructor who loves to help students find joy in making music. I believe that developing a methodical way of practicing and thinking about music reading, tone production, and creating rhythm is the key to unlocking students' abilities to enjoy the music they produce. In 2008 I graduated from the University of Maryland with a Bachelor of Music Education degree. During my ungraduate years I studied classical saxophone with Dale Underwood and was selected as a soloist with the university's concert band on two occassions. I was also a member of the school's jazz ensembles and began to study improvisation. Between 2008 and 2013 I taught classes and lessons, mostly classical in nature, but also played regularly in jazz ensembles around Washington DC. I honed my improvisation skills through attending Barry Harris' Jazz Workshop in NY and recieving lessons from the great Lee Konitz. I've had the opportunity to play with many formidable members of the jazz community, both old and young, and have performed at many venues. You can view my website for the particulars, along with samples of my jazz improvisation and free improvisation.

Holli F

Holli F

Instruments:

I am a highly enthusiastic individual and I like to make students work! With the first lesson I prefer to have students bring me something that they may be currently working on (except for beginning students) so I can determine where to proceed from. Each student's work pace is determined by their individual needs as a flute player and what their long term goals are. As far as materials are concerned I like to work out of similar etudes and methods books for all students. It is a high expectation that students practice on a regular basis so lessons can be spent learning new material.

Kamen R

Kamen R

Instruments:

I blend the tried-and-true poise of classical technique with holistic approaches to satisfy two purposes: 1) the traditional desire to hone skill with practice and discipline, and 2) the psychological development of the student's independent musicianship. Music without expression is only sport. While technique, exercise, rigor, and history are essential in order to develop the deepest possible understanding of music, I aim to go beyond this to shape the independent expressionism of each student.

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