Saxophone Lessons in Friendship, MD

Instruments: Piano Saxophone Djembe

My teaching experience dates back to the beginning of high school. Though it wasn't music education, I am very much use to private teaching. I started my education career at "Kumon of Bowie Math and Reading Center," a tutoring center created to emphasis one-on-one assistance for students in need. After working there for five years, I pursued my undergraduate education until Spring 2017. During college, I also worked as an ear training mentor. Read More

Instruments: Piano Saxophone Clarinet

For my young beginning piano students, I apply the Piano Adventures Method by Nancy and Randall Faber. For my older beginning piano students (13/14 and up), I apply the Alfred Adult Piano Method to ensure the material meets the student at his/her academic level. As for all woodwind students, I apply the Reubank Methody (Beginning, Intermediate, Advance), alongside Hal Leonard's Essential Elements for students currently in a school band. Once each student has reached a satisfactory level of performance, solo repertoire is then introduced. Read More

Instruments: Piano Voice Saxophone Flute Recorder Piccolo Music Keyboard

In 2013, I graduated with a Bachelor's in Music from University of Wisconsin-Milwaukee's Peck School of the Arts. I honed my craft of private teaching and also specializing in Balkan folk works, arranged for flute and secondary woodwinds. In 2019, I extended these skills over into Vocalism: singing, beatboxing, rapping, and spoken word. Ergo, my best work to date is an original composition called "LatinAmerica". There, I looped my original flute samples, singing, beatboxing, and minimal electronic effects onto my Boss Rolland RC 505 tabletop loop station. Read More

Instruments: Piano Trumpet Saxophone Flute Synthesizer Music Keyboard

My methods are different for every student, but I always start with fundamentals. This includes scales, exercises to improve sound and intonation, reading, writing, improvisation, and most importantly listening. Depending on the path the student choses, some areas will be focused on more than others. I will often introduce more advanced concepts early if the student displays interest in them. I am not the kind of instructor who will say "play your etudes first and then we can talk about improvisation." I almost quit shortly after I started music because I had an instructor with that outlook. Read More

Instruments: Piano Guitar Voice Violin Trumpet Trombone Saxophone Flute Clarinet Drums Bass Guitar Recorder Euphonium French Horn Tuba Piccolo Mallet Percussion Orchestral Percussion Music Keyboard

For begining student I typically start with a book called Essential Elements. I supplement some of the things in the book with other literature and hand written exercise to help enhance learning experience. For Adults I try to find what genre and music style they would like to work on. This then allows me to plan a custom learning experience that best suits them and what they're looking to gain from the experience. Read More

Instruments: Saxophone Flute Clarinet Recorder

For beginning students who are children, I usually start with a songbook, such as the Accent on Achievement method book. Once the student has a grasp on the fundamentals, I begin to introduce solo repertoire. For adult students, I try to find out what the student is interested in pursuing, and then if they are a beginner, I teach fundamentals through the Rubank method books and supplement with songs that are approapriate to the student's taste. Read More

Instruments: Piano Guitar Voice Saxophone Bass Guitar Organ Music Keyboard

My approach seeks to breathe air under the wings of the students' interest and attention by making them a constant starting point, while also laying the groundwork of introspection for students to develop and apply their own practices of learning, exploration, and innovation going forward. My teaching methods focus on considering embodied experiences of music, as well as a range of philosophical considerations. Students will be encouraged to think about how feelings, subjectivities, sounds, and spaces interact in complex ways, along with a series of other metaphysical questions that I believe are essential to a holistic praxis of understanding and learning music. Read More