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Featured Viola Teachers Near Los Angeles , CA

Tasha S

Tasha S

Instruments:

I have been studying the violin since I was 10-years-old, and I love to share my passion for the magic of music with my students. I got started teaching when, after one of my high school orchestra concerts, a little 6th grader approached me and asked that I please teach her how to play like me.  I've been hooked on private teaching ever since. I've directed youth orchestras, taught a Music Education Lab for undergraduate students for a university, and private taught all ages and levels.

Arlette C

Arlette C

Instruments:

I have been teaching for 18 years in Culver City, and most recently I moved to Reseda, CA.  I also teach at Bloom School of Music, and I am the Cello Coach for the Open Academy as well.  I graduated from University of Michigan, Ann Arbor, with the best education from professor Jeffrey Solow, and after graduating I was offered a tour in Europe for 8 months. I performed in many Opera Houses, and I was thrilled to be able to perform in the many world class operas houses. Today I also have my own orchestra, and I am Executive Director, and Music Director, and we open our first concert on October 26, 2013 with "Classical Music Meets the Moveis" in Culver City.

Corinne S

Corinne S

Instruments:

I have taught violin and viola for the past 8 years, beginning when I was in high school, until the present. The majority of the students I teach are violinists, but I also teach viola as well. The majority of my students are between the ages of 3 and 10, but I enjoy teaching children/adults of any age and level. I began my studies when I was 11 years old, and on viola, which is very late in the classical music world. I believe starting so late has helped me as a teacher, because I can vividly remember how hard it is to begin an instrument, and how frustrating it can be. This gives me a sensitivity that many teachers may not have. I expect a lot from my students, but I also understand how difficult it can be when first starting out.

Lucy L

Lucy L

Instruments:

My teaching method is mainly the combination of The Juilliard School of Music and Suzuki Method.  Lessons are specifically designed to fit individual students age, background, strength and personality. In my classes, not only students are taught how to play the violin, they are also taught ear training, sight-reading, music theory, and performance skills; Most importantly, students are also taught self-confidence, discipline, appreciation of the arts, and the pride that comes from a job well done. 

Dominic M

Dominic M

Instruments:

I never go into a first lesson with a new student with any expectations - everyone, regardless of age, is exposed to music differently, thus each person has their own unique experiences. I always like to start with new students by asking the following questions - What music do you like listening to? (genre, artist, etc.) What do you like about your instrument? What other instruments do you like? (for kids) What are your favorite subjects in school? (many basics in music often intersect with other school subjects) What are your goals (short and long term) with music/these lessons/other personal goals? From there, we go forward, learning necessary techniques and repertoire. When it comes to teaching technique, I try to avoid using terminology like "the right way" versus "the wrong way". Instead, I use "better way" or "more efficient way", and then explain why.

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Recent Articles from the Musika Blog

Parts of an Opera: A Quick Beginner's Guide

...underneath.   Recitativo Secco has a stark and bare sound, accompanied by only minimal instrumentation. These parts of an opera feature a freer rhythmic style (facilitated by the accompaniment only playing sustained chords), and the singer can do as he or she pleases, to a certain extent. Secco formed the backbone of the above-mentioned Peri and Monteverdi operas. Secco recitative was traditionally accompanied by harpsichord, bass viol, and violoncello.   For sake of reference, imagine a Broadway musical (probably Hamilton, these days). Any instance where the performers communicate with spoken words, an opera performer would communicate with recitative.   Recitativo... Read More

Vocal Exercises: Intermediate and Advanced

...since they cover a large portion of the vocal range in a short amount of time and include a combination of whole steps and half steps. The easiest way to sing a major scale is to think of the exercise as a ladder and each pitch is a step up or down. To begin, choose one vowel and a starting pitch lower in the vocal range (ideally the same pitch you began on when practicing octaves). Sing an octave up just to locate your highest pitch, and then begin the exercise by singing each of the notes between the two ... Read More

Testing Room Acoustics for Musicians

...this is also where people tend to stand and listen. The corners of a room are notorious for accumulating bass frequencies, and it is worth noting and listening to the corners of the room, as well.   Treat the room and re-test room acoustics   Once you have a general idea of the room acoustics, and in particular the problem areas, you can begin to treat these areas. It might be helpful to move furniture around and notice how the acoustics have changed. If you will be treating the walls, floor, and ceiling, hang the treatments and lay the carpeting parallel to the ... Read More

Becoming a Music Teacher: A How To Guide

...with billing so you don’t have to. Surely, after casting your net wide and participating in a series of interviews you will find yourself at home in a new music classroom or rehearsal space. It may also happen that you decide one on one teaching is more your speed and develop a private studio. Regardless, all of your hard work will have prepared you for what is to come, but the real learning has yet to take place. Becoming a music teacher on paper is a set of steps most can follow, but becoming a music educator is a process that ... Read More

A Case for Early Childhood Music Education

...these very young students who are infants or toddlers are not going to be playing a Bach Sonata or composing rhythm patterns after a series of group musical experiences. However, the very nature of early childhood music, and early childhood in and of itself is play. It is often said that play is children’s work, and this is certainly the case with play in early childhood music education. Initial experiences are just that, the beginning, the foundation, the place from which inspiration and curiosity stems. The earlier our children have the opportunity to be immersed and explore within a rich musical environment, ... Read More
Parts of an Opera: A Quick Beginner's Guide
Vocal Exercises: Intermediate and Advanced
Testing Room Acoustics for Musicians
Becoming a Music Teacher: A How To Guide
A Case for Early Childhood Music Education

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