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Featured Viola Teachers Near Los Angeles , CA

Jim S

Jim S

Instruments:

Piano: Alfred Basic, Alfred Adult, London College of Music Piano and Jazz Piano Handbooks levels 1-8, Bastien Classic Literature Collection, Standard Classical and Pop literature, Spencer Method Voice: Singers Musical Theatre Anthology, Italian Art Songs, French Melodies, German Lieder, Pop/Jazz, Rock Repertoire, Children's Theatre, Operatic Repertoire. Spencer Method Violin/Viola: All For Strings, Susuki, Standard Classical, Standard Celtic/Cajun Repertoire, Fiddler's Fake Book Mandolin: Bay, and other methods Theory: London College of Music Theory Handbooks and Pop Theory Handbooks, Spencer Methods Software: Sibelius, Pro Tools, Garage Band, Musware, Auralia, Virtual DJ Creativity Coaching: The Artist's Way, Prosperous Heart, Silva Method, EFT/NLP

Corinne S

Corinne S

Instruments:

Beginning students - Children: I will begin with either Suzuki or Essential Elements for the initial learning process. I focus on form and producing a clear, clean sound. Once they are more comfortable with the physical aspect of holding the instrument and producing a nice sound, I will add scales, arpeggios, and Etudes (exercises), as well as eventually adding music from the classical repertoire. I would also be open to working on pop music/current music if the student needs more motivation and tends to be bored by only classical. Beginning Adults: I generally teach young adults/adults the same way I teach children. But if their dedication is apparent and they are willing to work harder (put in more practice time vs children) I will teach more material during the lessons and make it possible for the student to learn more quickly (only if I see their practice time and dedication allows this).

Nikkia C

Nikkia C

Instruments:

I have been teaching for the past 11 years and have had a full studio of 20-25 students during that time. Over the past four summers I have also directed chamber music and fiddle music camps. I specialize in starting very young children on the violin, as young as age 2, although depending on the child starting between ages 3-6 is ideal. It is very important to me to tailer my teaching to each student and their developmental and musical level. I love introducing children to new musical concepts and coming alongside them on this often life-long musical journey. There is unique relationship that forms during private music lessons, one that can have a large impact on the student, and I take that responsibility very seriously. That said, I like to make learning to play the violin as fun and easy as possible without sacrificing fundamental technique. I have had great sucess with various practice stragegies and find my students are highly motivated by these. I encourage performing at a young age and often, along with participating in music festivals and, as they become older, youth orchestras and chamber groups. 

Tamboura B

Tamboura B

Instruments:

I was born and raised in New York City. All my life I have been passionate about the arts and music is certainly one of my greatest passions. I started studying classical violin at the age of 6 at the Third Street Music school in New York. (studied under the Suzuki method). Along my travels as a student I have also attended music camps such as Kinhaven and Interlochen and was a member of the New York Youth Symphony during my senior year in high school. Currently I make a living as a musician. I perform gigs around town as a soloist playing various genres - classical to pop. I teach out of my home studio (currently setting up the studio and can have my first student mid October, 2016)

Brandon E

Brandon E

Instruments:

For my beginning violin studetns, I have a custom set of  books that I use in order to successfully set my students up with a solid foundation for technique and the ability to read notation.  For the intermediate student, we will focus on thoroughly learning msuic in the first three Suzuki method books.  Once the Suzuki method books are completed, we will begin our first sonanta and standard violin concerto.

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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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