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MM, New England Conservatory, Jazz Studies BM, Shanghai Conservatory of Music, Contemporary Music Performance
2018 Honored Graduate of New England Conservatory 2017 New England Conservatory Dean's List 2016 New England Conservatory Scolarship 2012 Shanghai Conservatory of Music Scholarship
I'm a professional saxophone player based in Los Angeles. At the age of 10, I started playing saxophone because my parents were asking me if I was interested in music. I started my first saxophone quartet at the age of 12. I was accepted by Shanghai Conservatory of Music's Contemporary Music department in 2012 under the instruction of the jazz saxophone professor Xiaolu Zhang. I recently graduated from New England Conservatory in Boston, where I did my masters under the instruction of Jerry Bergonzi, Miguel Zenon and Donny McCaslin.
During my study in Shanghai, I started teaching middle school wind ensembles as well as saxophone and clarinet lessons. Starting 2012, I also have been teaching jazz combos and saxophone ensembles for Shanghai International Saxophone and Jazz Summer Camp. I designed my course on the topic of jazz history while I was in Boston. I demonstrated a few lectures in front of the jazz history professor Mehmet Sanliko and Dr. Robert Labaree, and they speaks highly about my class. I also teach music theory and ear training.
For most students of younger age, the problem is to keep being interested in music. This is because music has been taught in the method of reading from sheet. Being able to read music is important, but what's more important is being able to hear music correctly. During the past few years, I found students often being interested in listening to music more than reading a written chart. I teach students not only how to read music, but also hearing it, playing along with it, because after really trying to hear music, my students do have a better interest in music.
By letting students practice how to improvise, students will learn not only the instrument itself, but also start to build a concept of ear-training, as well as music theory. To me, the music comes first than the music theory, which is why music theory always serves people's ear. I would have students learn how to play and hear chords, create a musical vocabulary and enjoy themselves. After letting them hear music, I will explain why they are hearing what they are hearing instead of letting them read it from a chart and not explaining why.
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