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BA from UC Irvine Clarinet Performance started off at the University of Michigan MFA from Mills College in Performance with a focus in Improvisation
I compose music with environmental intentions in mind. As a performer who has received training in the European symphonic tradition, I have studied music by composers who are no longer alive and also by composers who are still living today. I have studied the music in the American Jazz tradition as well as music by popular composers from the past 40 years. These three styles have been explored, and this is one medium in which I compose: with a name. However, there is a style that is much more ancient and at the same time current and happening in approach. The music of Australia, Africa, the Americas, South East Asia, and in some cases the folk music of Europe all rely on a tradition of improvisation and general forms that are passed down through the generations and influenced by the environment; so there is no specific composer. I seek to begin a canon of music that is inherent in this particular approach of providing form to the appropriately trained performers; this form is based off of scientific and natural phenomenon that we experience in the regions of the world where circular breathing has been developed: very unique ones at that. In addition to a cultivation of arranging polytonal modal compositions running in sets either counterclockwise or clockwise around the circle of fifths in interval sets that are relative to a set of origin depending upon set parameters relative to a subjective interpretation of scientific phenomenon.
A great deal of music around the world is based off of the notion of a particular set of spirits or a set of emotions that human beings experience. This is a highly anthropomorphized approach to composition, which has been important in the establishment of human beings in the world today. I feel as though the world is saturated with compositions in this style and there is technology available today that allows performers and composers to engage in their environment in a more direct way involving statistics, information, and original sound synthesis from the occurrence of natural phenomenon. These types of compositions do not need to have a specific composer, or even instructions of how to perform these pieces because these phenomenon are in constant flux and the perception of these phenomenon will be different depending upon a person’s experience. These types of compositions call for a specific type of performer and a new type of listener.
When I teach students I prefer to keep them organized on a seasonal basis; setting goals for the long term and the short term so that the student is busy and occupied. Every student has a different approach to learning and it is important to develop a plan that works for every student. I usually recommend that students keep track of their practising in a journal so that they can reflect on their goals and development. In this there is careful attention to the progress that is being made so that the student can develop a plan that works for their own needs.
During a lesson I tend to organize the lesson so that there are three or four parts. Usually I begin with long tones then we move to articulation. Then I usually incorporate a few small musical studies that cater to style and performance type. During this time it is important for the student to pay attention to the timbre of their performance. Next I cater to the students ability to create their own character with a solo. Finally it is important to go over theory so the student is adept in the language of their instrument.
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