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I am a very motivated instructor who loves giving musical instruction to anyone that is excited about music. I love teaching and talking about all different genres of music and learning about other people's influences and musical experiences. I graduated from the Berklee College of Music in Boston in 2012 and have been teaching guitar lessons in the East Bay area since moving back. I've been fortunate enough to study with some world class musicians and to perform with professional bands since I was 16 years old. Whether you want to dig into learning the history of the blues or you want to get starting on learning some jazz standards or even just picking up some Metallica riffs/solos, I can get you started from whichever starting point you choose. From there I always make sure to assess a student's needs and tastes, then try to apply music theory along with nudging the student into new musical territory. I believe that any student is capable of learning any type of music with the right attitude and carefully guided instruction. Also if a student wants to develop his or her ear training on the guitar, I can help unlock the secrets to developing relative or even perfect pitch. Since the ear is perhaps the most important factor to anyone's musicianship, this will be an immense help to any student. Most importantly, my goal is to have fun and to share my love for music with anyone who is willing to learn and listen!
Hristo Vitchev is an impressionistic modern jazz guitarist and composer from Sofia, Bulgaria. Now residing in the San Francisco Bay Area, Hristo leads a variety of modern jazz formations, ranging from duets to quintets. Hristo has toured nationally and internationally, appearing at some of the most prestigious jazz clubs and festivals, and has also performed guitar clinics in Europe and Japan. He has written more than 270 original compositions, many articles on jazz improvisation, and a book on chordal theory and construction entitled Between the Voicings: A New Approach to Chord Building for Guitarists. The Hristo Vitchev Quartet’s 2009 debut album, Song for Messambria (First Orbit Sounds Music) quickly received outstanding reviews by the international jazz community and was selected as one of the six best jazz albums of 2009 by E-JAZZ NEWS. “Vitchev’s sophisticated and adventurous work is imbued with shimmering harmonies and lyrical improvisations.” – JAZZTIMES MAGAZINE “Vitchev’s multihued compositions are like impressionistic sound paintings.” – JAZZIZ “Hristo Vitchev may be one of the best kept secrets in jazz today. He is the epitome of sonic gold.” – DIGITAL JAZZ NEWS “Hristo Vitchev plays as the cultural end result of his life experiences. Simply put, Vitchev plays more so from the heart than he does the head.” – Critical Jazz “A richly textured album full of strong melodic and rhythmic ideas and with some superb playing throughout.” – THE JAZZ MANN (England) As jazz critic Edward Blanco describes, “Vitchev is the newest guitarist to enter the national jazz scene and does so with a stunner of a recording in Song for Messambria, one of the finest debut albums I've had the pleasure of appraising this year.” The record presents a unique blend of ECM-style modern jazz, classical, and Brazilian tone textures, and showcases the completely unique and masterful interpretation of the jazz idiom by each one of its members. In late 2009, Hristo Vitchev released his second studio album featuring Latin Grammy-nominated pianist Weber Iago. The Secrets of an Angel is an impressionistic landscape painted by the delightful and graceful conversation between the two instruments (guitar/piano). As jazz critic Brad Walseth describes, “On the heels of his impressive debut recording, Song for Messambria, guitarist Hristo Vitchev returns along with pianist Weber Iago for a wonderful guitar/piano duet recording - The Secrets of an Angel...while the gentle title track shimmers like a glistening iceberg on a cold sea. The delightful two-part ‘The Last Pirate” is a highlight - brilliantly showcasing the exciting romantic bend inherent in Vitchev's music, while the nostalgic lullaby “Leka Nosht (Good Night)” recalls a faraway youth and rounds out this fine release.” In 2010 Hristo Vitchev wrote a large scale jazz work (The Perperikon Suite) especially to be premiered at the 53rd Monterey Jazz Festival. This 7 movements jazz suite is inspired by the ancient Thracian city of Perperikon (located on the territory of Bulgaria), and combines orchestral, classical, jazz, and fusion elements depicting the history and mystery of this enchanting place. The work marks Hristo Vitchev’s third album and one of his most adventurous and sophisticated works up to date. For the recording of this project the Hristo Vitchev Quartet was joined by virtuoso vibraphonist and multi-instrumentalist Christian Tamburr. As jazz critic Dan Bilawsky describes: “Shimmering harmonies resonate throughout these modern jazz marvels, and the soloists work their way around and through this accessible and exciting music with equal measures of taste, technique and spirit. Vitchev's pieces are peppered with signpost sonorities and ideas that often reappear throughout a given song, creating a sense of continuity and thematic steadiness that develops around individual soloists. While this group ably establishes its own aural identity, which threads its way through the whole album, each movement of the suite has different strengths and a unique sonic footprint. Brought to life as a tale of two cities, The Perperikon Suite ultimately occupies its own wondrous world within the confines of its jazz borders.” As jazz critic Brent Black describes: “There is an incredible warmth to Vitchev's playing, a fluidity of movement and direction held firmly in place by a stellar quintet that provides ample support for the lyrical imagery created on this release. Aside from the superior sound which almost smacks of a live in the studio recording, there is a true working band feel that Vitchev has been able to obtain. Vitchev displays an unparalleled versatility moving from the flash of “The Acropolis” to the more introspective “The Southern City” allowing for a wonderfully paced recording. The drumming of Joe DeRose creates a special dynamic tension on the tune “The Great Hall.” A release that ends far too soon. Wonderfully crafted, well paced and a sonic tapestry that stands up as well as any release for this past year.” As jazz critic Bruce Lindsay describes: “The music, performed by a terrific quintet, is beautiful: it captures images not of a city in ruins but of a city full of life, of vibrant activity. The Perperikon Suite is an impressive creation. Each individual tune is beautifully crafted, but so, too, is the Suite as a whole. Vitchev's response to the ancient city is remarkable in both its conception and its performance.” As jazz critic Michael Bailey describes: “Many time motifs are used throughout this suite. Tick-tock ascending and descending figures pass as a thread through cloth, to hold this musical garment—a coat of many colors—together. Vitchev achieves this effect with no apparent effort or change in guitar tone or approach. Merely by affecting the time signatures, Vitchev makes his magic. The Perperikon Suite is soft-spoken and brainy music that exists out of the ordinary.” As jazz critic Brad Walseth describes: “The new songs are the strongest Vitchev has written yet, and the addition of Tamburr serves to take the music to an even higher level. Vitchev, meanwhile, continues to impress the listener with his addictive blend of jazz with touches of classical, Brazilian and Eastern European influences in both his playing and songwriting. In lieu of visiting the legendary site yourself, listeners are urged to take a musical journey to the ancient location as seen through the senses of Hristo Vitchev and shared with you through his highly satisfying musical presentation.” As jazz critic Ed Blanco describes: “Hristo Vitchev and his inspirational quintet provide an all-new experience on The Perperikon Suite, a concept album that is accessible, creative and a pleasure to spin often.” In 2012 Hristo embarked on yet another musical chapter of his life. Heartmony is the long awaited and highly anticipated follow up to the first duet recording by the guitarist and pianist Weber Iago (The Secrets of an Angel). As the title of the record will suggest, Heartmony explores a truly intimate, honest, and emotional conversation between the two instruments. The music, which transports you from impressionistic landscapes to folkloric tales and from melancholic memories to meditative trances, is simply the purest harmonious sounds Vitchev has put on tape up to date. Straight from the heart, healing energy that will embrace you long after you listen to it. “An absolutely wonderful recording.” – JAZZTIMES “If ever there were a marriage between classical music and jazz then this Heartmony is it. Hristo Vitchev and Weber Iago have created a very special experience.” – Grady Harp (Amazon.com) “Both on and off the bandstand, Vitchev is an artist who wears his emotions on his sleeve. His new “Heartmony,” a duo session with his frequent collaborator, Brazilian pianist Weber Iago, provides a master class in the way a chord or harmonic progression can evoke a flood of sensations.” – Andrew Gilbert (San Jose Mercury News) “Guitarist Hristo Vitchev and longtime collaborator, pianist Weber Iago, have created a work of sublime musicality with Heartmony. Exquisitely lyrical, although a bit too sweet, this opus brings together multiple musical influences into a coherent and cohesive, multilayered narrative, the momentum of which does not slack from the first few notes to the very last. Vitchev and Iago interweave long musical threads into a shimmering soundscape of serene beauty.” – Hrayr Attarian (All About Jazz) As jazz critic Brent Black describes: “Heartmony is a sonic mosaic pieced together from heartfelt feelings and emotions carried through time and communicated in an incredibly heartwarming and emotional presentation that exemplifies the zen concept of less is more perhaps as well as any recording of the last decade. The musical sound of one hand clapping. Vitchev and Weber's music transcends the more traditional jazz idiom in much the same fashion that their recorded work here is that of a more cohesive unified voice with subtle shadings, lyrical swells and the textured nuances that creates music that is to be experienced. An incredibly beautiful artistic statement of personal experience.” “Guitarist Hristo Vitchev and pianist Weber Iago sounds like a perfect match in a musical heaven, if such things exist. What I’m saying here is that this is a duet album that sounds perfect, music made from the heart and soul. There’s warmth, there’s care, and there’s a human quality to this that no machine can replicate, and it is that Heartmony that makes this a powerful album worth listening to repeatedly.” – John Books As jazz critic Dan Bilawsky describes: “The eleven originals are all musical offerings from the heart and soul, but this isn't a one-dimensional recital. Some songs are full of life and positive energy, while others have a sense of regret and nostalgia sewn into their being, but they're all painted in sharp, vivid colors, thanks to the skills of both artistic practitioners at play.” “This set of guitar-piano duets is quietly emotional, always intriguing and quite original. Vitchev’s clear toned guitar blends in perfectly with Iago’s powerful piano and the two musicians often seem to think as one. Heartmony is quite thought provoking and well worthy of many close listens. Highly recommended.” – Scott Yanow “Vitchev and Iago play together with the assurance born of long and fruitful collaboration. They know each other well, and it shows in the skillful way they complement each other. They take a beautiful melody and run with it. They wring every bit of emotion out of it. There are passages in a composition like “Memories in Black and White,” nocturnal moments in “The Last Leaves which Fell in Fall,” that sound like they could have been written by a nineteenth century Polish Romantic. Then there are moments in the same songs where there are glints of French Impressionists.” – Jack Goodstein (blogcritics.com) “Hristo Vitchev is a gifted composer and master guitarist whose stylish approach to the music makes him a hidden wonder of the jazz world. Heartmony is an intelligent musical statement and gentle follow up to his previous works, a relaxing soulful musical experience sure to touch a piece of your heart.” – Ed Blanco (E-JAZZ NEWS) In January 2013, Hristo Vitchev released “Familiar Fields” – his 5th record as a leader (and his 2nd quartet recording). The music presented in this session clearly displays the multidimensional tonal evolution of the band and each one of its individual members. The addition of drummer extraordinaire Mike Shannon to the quartet establishes a portal to new sonic landscapes and emotions to be explored in this collection of 9 original pieces by the guitarist. The music, which takes the listener through the realms of impressionistic, classical, jazz, experimental, and new age, always retains the unique sonic footprint that has brought critical acclaim to the quartet all over the world. “Vitchev paints a vivid pastoral landscape with epic sweep, often recalling the big-sky sound of Pat Metheny. Obviously, these musicians are more than comfortable with one another, as one delicate solo seamlessly segues into another.” – JAZZIZ “Once again Vitchev has produced an immaculately crafted, often supremely beautiful album.” – The Jazz Mann (England) “If Pat Metheny and Larry Carlton are considered the kings of impressionistic jazz guitar, then certainly Hristo Vitchev is a crown prince and ready to lead a palace coup. In fact, “Familiar Fields” easily stands equal to even their greatest albums. Part of the reason for that has to be credited to Hristo’s choice of musicians in the quartet. The musical affinity and effortless grace shines forth on this album like few recordings I have ever heard. They share a single heart and mind that bursts forth in illumination on every track. There is no weak moment or weak player on this album.” – Travis Rogers (JAZZTIMES) “Over the past few years, Bulgarian-born, Bay Area-based guitarist and composer Hristo Vitchev has consistently crafted music of great lyrical beauty. With his self-named quartet or quintet, or in duet with pianist and frequent collaborator Weber Iago, Vitchev has advanced a sound that manages to sound intimate and epic at the same time. He does so again on Familiar Fields (First Orbit Sounds), his latest recording with his quartet, which welcomes new member Mike Shannon on drums. As he has on previous recordings, Vitchev makes use of classical imagery and narratives in song titles such as “The Prophet’s Daughter,” “The Mask of Agamemnon” and “Wounded by a Poisoned Arrow,” the last of which is our selection. Vitchev’s instrumental voice bears echoes of the tonal warmth and big-sky sweep of Pat Metheny, as he and Iago, his beyond-simpatico musical compatriot, switch off on leads, riding the rolling hillocks of rhythm provided by Shannon and acoustic bassist Dan Robbins. Shannon proves an exceptional addition to the group, responding to and driving his companions in equal measure.” – JAZZIZ As jazz critic Hrayr Attarian describes: “Bulgaria-born and San Francisco-based Vitchev has established himself as a modern day troubadour. His enchanting and fantastical tunes have the feel of medieval ballads abundantly peppered with futuristic sounds. His sixth release, Familiar Fields, presents nine impressionistic originals that showcase his maturing compositional skills as well as the superlative, improvisational talents of his working quartet. With each album Vitchev's oeuvre ripens and becomes more sophisticated without losing its delightfully spirited edge. Familiar Fields not only stands on its own merit as sublime music but also whets the appetite for what is yet to come.” “Familiar Fields is a highly intelligent, thought-provoking Impressionistic escapade.” – Nicholas Mondello (All About Jazz) “This release is a clear statement from an artist comfortable with who he is and where he is going. There are no absolute truths in music but instead there are shades of gray which Vitchev and his quartet fill in with the precision of a surgeon and the soul of a true artist. Never caught up in the academics of his works, Vitchev instead conducts a sonic exploration with the end result being a release that gives up something new with each subsequent spin. An ebb and flow unmatched, or perhaps unlike Vitchev, an ebb and flow that other artists simply can not match. As close to perfect as it gets!” – Brent Black (CriticalJazz.com) “The Hristo Vitchev Quartet, ladies and gentlemen, is in peak form. They have no competition: no other music in the jazz idiom is quite as satisfying.” – Grady Harp (Amazon.com) “The musical bond between guitarist Hristo Vitchev and pianist Weber Iago is as strong as that of Chick Corea and Gary Burton, with proof being their two sublime duet recordings, The Secrets of an Angel and Heartmony, as well as three small group sessions under Vitchev's name. For the Familiar Fields quartet date with regular bassist Dan Robbins and new drummer Mike Shannon, Vitchev chose nine gems to play from his vault of more than 270 original compositions. As usual, as one listens to Vitchev's music, the words lyrical, impressionistic, spiritual, and passionate come to mind, and also Vitchev's term "heartmony," which he defines as the simultaneous combination of feelings and emotions, especially when produced by experiences, memories, and stimulations pleasing to the heart, body, and soul." – Scott Albin (JAZZTIMES) “The emotional essence of any Hristo Vitchev recording can be seen before it’s heard via the distinctive oil paintings the guitarist creates for his CD jackets. Vitchev’s artwork for Familiar Fields is impressionistic, haunting and autumnal, the same qualities that characterize his latest collection of tunes. The foursome’s interplay is highly intricate, resulting in emotive tunes that wax and wane in intensity. Whether you call it post-bop or post-fusion, Vitchev’s brand of jazz is passionate and ethereal. He has developed into a formidable guitarist and intelligent composer, and since he’s only 32 years old, his best work may be yet to come.” – Ed Kopp (Jazziz) “Within Vitchev’s tone and technique, it’s not difficult to hear the influences of Wes Montgomery, Pat Metheny and Lee Ritenour. He is adept at the full range of extended techniques but is most often described - justifiably - as an impressionist.” – Karl Ackermann (All About Jazz) “Of the many attributes that Bulgarian (San Francisco based) guitarist Hristo Vitchev possesses - refined technical abilities, warm tonality, and expressive soulfulness - his gift to convey beautiful stories through intricate composition is always at the heart of his appeal.” – Mark F. Turner In October 2013, Hristo Vitchev released his 6th album as a leader. "Rhodopa" is a beautifully crafted sonic pairing of the extremely emotional and lyrical Bulgarian folklore and the multidimensional and deeply textured world of modern jazz harmony. On his new music journey, the guitarist is joined by virtuoso Bulgarian clarinetist Liubomir Krastev. As jazz critic Dan Bilawsky describes: “Hristo Vitchev and Liubomir Krastev cover everything from the mystical to the mournful and the grim to the gleeful on this absorbing duo date.” “Hristo Vitchev takes improvisational music to a third dimension of texture you can feel. Rhodopa is my selection for album of the year for 2013. Critically acclaimed guitar virtuoso Hristo Vitchev started the year with the release of the highly regarded Familiar Fields. With Rhodopa, Vitchev has now assumed his rightful place as a global virtuoso of unrivaled talent and ability. As artistically gifted as he is technically proficient, Hristo Vitchev moves to the head of the pack with this stellar outing.” – Brent Black (CriticalJazz.com) “Hristo boldly departs from the group setting and gives the audience even more of what they crave - soulful arrangements and virtuosity with heart. There is a beauty and an elegance that comes through on each and every one of Hristo Vitchev's recordings. The music he composes, the arrangements he crafts, the musicians that he assembles together and the dignity and reverence of his musicianship speak of the heart of the man and his love of life.” – Travis Rogers (JAZZTIMES) “Modern jazz guitarist, pianist and composer Hristo Vitchev always refreshes the ear and the soul with his inordinately sensitive, mesmerizing, and beautiful approach to music. He is unique - and artist who explores every avenue of approach to both folk music and jazz and the result is an experience that simply no one else can match.” – Grady Harp (Amazon.com) “With Rhodopa, guitarist/composer Hristo Vitchev and clarinetist Liubomir Krastev meld musical minds, dive exuberantly into an array of earthy Bulgarian folk material and come up with four hands of beauty. The result is a panoply of aural color, emotion, and technical artistry.” – Nicholas Mondello (All About Jazz) As jazz critic Ed Blanco describes: “Rhodopa is an instrumental serenade of Bulgarian folklore music interpreted by a world-class guitarist and clarinetist. Hristo Vitchev and Liubomir Krastev deliver an enchanting and relaxing escape from reality with a fifty-three minute encounter of soul-reaching music.” On top of leading his own quartet, quintet, duo projects, and co-leading the group SEVA, Hristo Vitchev also co-writes and plays guitar with Joe De Rose and Amici - an energetic jazz/fusion formation lead by drummer Joe De Rose. Hristo Vitchev has appeared on countless radio shows/programs all around the world. Hristo has also performed in world-class jazz venues and festivals including Yoshi’s Jazz Club (Oakland, CA), Bach Dancing and Dynamite Society (Half Moon Bay, CA), Kuumbwa Jazz Center (Santa Cruz, CA), Anthology (San Diego, CA), Catalina Jazz Club (Hollywood, CA), The Jazz Corner (Hilton Head Island, SC), Heidi's Jazz Club (Cocoa Beach, FL), Alvas Showroom (San Pedro, CA), The Jazz Station (Eugene, OR), Egan's Ballard Jam House (Seattle, WA), Timucua White House (Orlando, FL), Ivories Jazz Club (Portland, OR), The Herbst Theater (San Francisco, CA), SOhO Jazz Club (Santa Barbara, CA), as well as major jazz festivals including the 53rd Monterey Jazz Festival (Monterey, CA), 2009/2010/2012/2013 AT&T San Jose Jazz Festival (San Jose, CA), 2010 and 2012 Redwood City “Jazz on Main” (Redwood City, CA), Okazaki Jazz Festival (Okazaki, Japan) and many more.
I'm a patient instructor that allows each person to grow at their own pace. We all have a goal of what we want to achieve and I guide you toward that goal. My primary goal is to create great musicians- people who are versed in many styles and have a handle on music as a language. I want to share my knowledge to help you find your musical voice and the creativity you seek through the guitar.
I am passionate and motivated instructor who enjoys teaching, performing and composing. I have pursued music on a variety of platforms throughout my career as a musician. Performing and writing music in many genres has allowed me to understand the depth of the musicial world, and endless knowledge there is to gain as a musician. I currently teach and perfom music in the San Francisco Bay area.
I'm a passionate and motivated instructor who loves working with students and sharing my experience. In 2010, I graduated from the New School for Jazz and Contemporary music in New York city with a bachelors in music performance/production. Performing and producing music all around the world has been one of the greater experiences of my life as a musician. I have performed at the Bern jazz festival in Switzerland, at the Bitter End (and many other clubs) in New York, and the Monterey jazz festival.
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Musika offers one-on-one, in-home guitar lessons that are designed specifically for each individual student. Whether your lesson takes place in a teacher's studio or at home, students will get the exact same lesson content, with the only difference being the location. Parents will find home guitar lessons a much more convenient option for their child, as it saves the time and costs of transporting their children to and from a studio. Younger students will find that learning to play the guitar in the comfort of their own home greatly benefits their development as they are learning in a supportive, secure, and familiar environment.
For young beginners, it is suggested that they start their guitar lessons by playing half or three-quarter sized acoustic guitars. Older students may be able to start off using an electric guitar, under the condition that they find it comfortable to hold. A student model guitar can be purchased in the $150 -$200 price range new, however, extra costs will need to be considered for electric guitar players, as amplification and cables will need to be purchased as well. Higher quality instruments tend to be easier to play, which will facilitate students enjoyment and progression in learning to play the guitar.
We recommend that older students looking to take up guitar lessons have a clear goal in mind, such as learning some of their favorite songs or learning to write their own compositions. The experienced teachers in our network can help you to develop the necessary skills to attain your musical goals. Learning any instrument can take time, as you will need to develop your co-ordination and muscle memory in order to start playing chords, riffs, and solos. The best and quickest way to learn these fundamental skills is to take regular lessons and practice your guitar playing as often as possible.
At Musika, we appreciate that every student learns at their own pace. As such, the experienced teachers in our network produce customized guitar lessons specifically for the requirements of each individual student. Teachers can design lessons for any student, regardless of their age, experience, or ability. Some of the things students can expect to learn during their lessons are learning all the notes of the guitar, playing and rhythmic techniques such as fretting, fingering, and strumming, how to read musical notation and tablature, learning how to play a variety of different chords, such as open and barre chords, and music theory. Over time, as each student progresses, they will learn how to piece everything they have learned together, in order to form complete compositions. Students can learn to play their favorite songs, or even to write their own music!
At Musika, we recommend that the earliest age at which students start to take guitar lessons is about 6 years old. A nylon stringed, half-size classical guitar will be the easiest and most comfortable instrument for younger students to play. In this age group, students will learn to play simple songs on the top strings. By the age of 7-8, students can start to form chords and play and sing along to some of their favorite songs. Students in the 10-12 age bracket, are likely to want to learn how to play rock music on an electric guitar, and should be comfortable playing a full sized guitar at this stage.
Review by Brianne Hancock
Martina has been teaching our daughter violin since early 2015. Every time our daughter has a lesson she comes away in such a great mood - she really enjoys her lessons! Martina is positive and encouraging and adjusts her teaching to help our daughter learn the best way for her learning needs. We were curious about how online lessons would work, and it turns out that they work really well. The 1:1 time and ability to teach from a distance make it work just as well as in person. We've had moves and schedule changes and Martina has been very flexible for us - which made such a big difference in making violin lessons accessible. Absolutely recommend her!
Review by Yury
I would like to thank Polina for the series of classical piano lessons I've taken recently. Polina is a fantastic teacher and a high class performer, and I'm really happy I had a chance to meet her! I believe anyone can benefit from the teaching method Polina is practicing regardless of the student proficiency - from beginners to advanced performers. It was a pleasure for me to study classical piano courses under the guidance of such an intelligent & professional teacher! Without doubt, my playing technique has improved a lot and I have signed up for the new classes online already.
Review by Kristen Draughn
Mr. Lou M. is a God-send! With the various needs that our organization requires from our education partners in order to provide enrichment services to our students, Mr. Lou M. has always gone above and beyond in meeting all of those needs. Our students are learning, our caregivers are happy and satisfied, and we couldn't be more pleased with his performance.
Review by Steven G.
Laura is the kind of teacher you wish you had in all your studies: gracious, easy-going, light-hearted, yet behind the easy going exterior is an excellent musical mind with everything at her fingertips. I've had about 5 teachers in my life who count as really influential people, and Laura easily fits that category. She lets you be yourself so that you are fully present rather than old-school doctrinaire style, what I call "stiff as a German, sig-heil" teachers. She's the polar opposite. Brava, Laura! Thank you so much!
Review by Wendy
Bill has been great with my 2 young children (age 3 & 6). He has integrated games into the lessons - they have enjoyed showing us how to play the games when it is time to practice piano. Bill has been easy to contact and rescheduling has not been a problem if we have a conflict at our regular lesson time.
Review by Christopher Perrone
Mike has been working with my son Robert for over a year and has just started working with my daughter Kate. Mike is both a great musician and a good teacher. He connects with the kids and keeps them engaged. He is able to tailor the lesson to focus on music that is interesting to each child. He also encourages the students to participate in a public setting which is great. I would highly recommend Mike.
Review by Claudiaaustin
Our kids love Mr. Lynwood. Mr. Lynwood is very patient and skillful teaching our kids both music theory and guitar/piano. He keeps them engaged and motivated during their lessons and we are seeing -or rather hearing- fast improvement in the kids' dexterity playing their respective instruments. We would recommend this good natured instructor to anybody.
Review by Ashley S.
Ali was an amazing voice coach! She taught in a way that made sense to me, and helped me find the voice placements I needed. I didn't know I could sound like that! My development with her was leaps and bounds rather than tiny dreadful steps that happen when you don't know what's going on! Ali was dedicated to helping me work on an audition for a music scholarship and I nailed it all thanks to her, seriously. I can't thank her enough! She helped me with the tools and confidence I needed to sing in the real world alone rather than just back row in a large choir.
Review by Ruslan
She is the most amazing teacher ever. She is not only w great teacher but she's so fun to work with. She has taught me so many things in such little amount of time things I didn't even know I could do. I recommend Andrea to everyone. She is an amazing singer and cares a lot about her students. She's the best!!
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