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Featured Piano Teachers Near Marlboro, NJ

4274   5 STAR Musika Reviews

Here are just a few of the many teachers offering Piano lessons in Marlboro . Whether you are looking for beginner guitar lessons for your kids, or are an adult wanting to improve your skills, the instructors in our network are ready to help you now!

Loreto A

Instruments: Piano Voice

For beginning piano students, I typically start with the Hal Leonard "My First Piano Adventure for the Young Beginner," series. As students progress in their piano studies, I begin introducing solo repertoire that will support the concepts being learned in the book series. I will also assign small writing projects from time to time, to sharpen students' compositional and music reading skills. For voice students, my approach will vary, depending on individual experience and skills. Read More

Keith B

Instruments: Piano Voice Drums

Im a professional actor and musician based in Brooklyn, who loves making music FUN! I graduated from Pace University with a BFA in Acting, and I have over 20 years of study and experience with piano and voice, and over 10 years of experience on the drums. Music has led me to perform all around the world on international tours, as well as at notable venues here in New York such as Avery Fischer Hall at Lincoln Center. Read More

Daryl D

Instruments: Piano Trumpet Flute Piccolo

Generally, my lesson style aims at preparing students with the basics of music making: technique, intonation, and tone, in order to promote music literacy and allow the student to play and work on classical masterpieces.I like to cater my lesson style specific to each individual student based on the students current ability and future interest. Read More

Olivia K

Instruments: Piano Cello

Beginner work how to take a Bow and how to use Bow in Cello. Left hand learning first with tape then take off tape to play listening intonation. Intermediate students work make good sound use bow slow and faster, contact bow differently and vibrato. To get better Vibrato work very slow vibrato to faster. For example play Scale, start Vibrato slowly 1 time to fast 4 time moving wrist. Let my students to record when they practice so they can listen and fix if figure out some mistakes. Read More

David E

Instruments: Piano Guitar Violin Organ Electric Violin

It is my utmost pleasure to share and teach my experiences in music to students.In my years of teaching music, I have learned that I acquire just as much knowledge in music as my student does from me. I was raised in a classically-oriented teaching style in piano. Though unpopular to my peers at the time, I had an appreciation for classical music that motivated me to learn new pieces and methods in a classical sense. Read More

Cameron E

Instruments: Piano Drums Mallet Percussion Orchestral Percussion Conga Latin Percussion Keyboard Djembe

For about 5 years I taught at a program called "Be Natural Music" where all of the students were children and teens. We put together kid rock bands and had them play shows a few times a year at local venues and festivals. I was the resident drum teacher for that program until my very recent move to New York. In my time there I helped the program expand into a new bigger store front and almost doubled their clientele. Read More

Michael C

Instruments: Piano Saxophone Flute Clarinet

Lessons are positive and laid back.  An atmosphere is created to be able to ask any question. Lessons are comprehensive, meaning that they both play to the student's strengths while addressing any weaknesses or information that is typically skipped over in public school simply due to lack of time and having the students on an individual basis.  Lessons are not just theory oriented, but more performing oriented.  There is always a solo to play or duet to sight read. Read More

Teacher In Spotlight

Alexis S

Instruments: Piano Voice

If you have a Music Degree, what is it in (Performance, Education, Musicology, Theory, Composition, etc) and why did you choose that degree?
I have 2 degrees. My first degree is a Bachelor of Arts from Oregon state university in Vocal performance. My second degree is a masters in music from Brooklyn college conservatory of music. I chose to pursue these degrees because I knew I wanted to be trained to the highest degree and be able to use that knowledge to continue to grow as a vocalist and help others grow in their own instrument. While a masters was not required for the jobs I perform now, it was extremely essential in securing my role as vocal captain in my casts.

What does a normal practice session look like for you?
Vocalizing is absolutely essential to the beginning of every session. Vocalizing is equally important in my own performing. I love vocalizing because it allows me to test drive my voice for the day. Our voices can fluctuate so much day to day, it’s important to feel in tune with your own instrument. My sessions start with plenty of vocalizing and eventually leads to work on solo pieces. I always allow plenty of space to communicate with my students and give them the opportunity to speak about what there experiencing while they’re singing.

Do you use specific teaching methods or books? (Ex: Alfred, Bastion, Suzuki, Hal Leonard) Why did you choose them if you did?
I am very open to all techniques. I grew up playing violin with the Suzuki method, which had shaped my ear wonderfully, but required me to learn to read music supplementally. I also was exposed to Orff and Dalcroze methods from a very early age. As far as vocal technique, I have had teachers who used the Caruso method and Alexander technique. I am not married to any specific technique though I have experienced many different types. I believe in a tailored to the student method is best. My favorite teacher always asked me if what I was doing felt good. That was what was most important.

What do you think is the hardest thing to master on your instrument?
Singing is one of those things that is completely different than any other instrument. You are exposing your entire self and making yourself vulnerable to the listener and to the art itself. I think, as with most things, the more you master it, the more little things you find that you want to improve. Living in the imperfection can be incredibly exposing and frustrating, but mastering is not about perfecting. Sometimes putting down the paint brush is the most difficult part of mastering an instrument. Some days you’re going to be in amazing voice and sometimes you’re having an off day. Both situations are useful.

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