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Featured Violin Teachers Near Minneapolis, MN

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Here are just a few of the many teachers offering Violin lessons in Minneapolis . Whether you are looking for beginner guitar lessons for your kids, or are an adult wanting to improve your skills, the instructors in our network are ready to help you now!

Marissa E

Instruments: Violin Viola

I use a variety of books for teaching, and prefer to not use just one. It is essential for students to study scales and arpeggios, so a scale book, typically the Flesch Scale book is required. Other books I use are -Suzuki -Solos for Young Violinists/Violists -For Strings (Though I use Suzuki books, I do NOT teach the Suzuki method. I strong emphasize music reading literacy, and this requires the ability to understand by reading, and not by hearing alone). Read More

Dawne E

Instruments: Piano Violin Viola Fiddle Keyboard

My style of teaching is different for each student. After meeting the student, I suggest setting a goal, working towards that goal for 4 -6 weeks - after which an assessment is made by me to determine how best to continue. For the younger student I often demonstrate, or play with them. Encouraging recital participation, finding the right performance piece helps me determine what inspires the student, young or old. Negativity in lessons is not acceptable and never happens with me as your teacher. Read More

Brenna B

Instruments: Violin

For beginners, particularly children, I use the Suzuki method due to the emphasis on learning the instrument before learning how to read notes. I do this in part because, regardless of method, listening to experts play pieces that you are working on is a big part of string playing, and the Suzuki method has become standardized enough that the beginner and intermediate pieces have readily available recordings. Once a baseline of the instrument is established, I add outside repertoire and workbooks. Read More

Byron D

Instruments: Violin Cello Viola

THE DOUNIS METHOD - The secret of being a truly great string player is to make the instrument an extension of the body not vice versa. This is accomplished by using your native instincts which are strongest when you are a child, but can be rediscovered later. When all technique is based on these instinctive movements then the expression is released. Your creative potential is unlocked. This kind of playing conveys a natural musical authority because it is completely based on your own musical impulses. Read More

Robin M

Instruments: Piano Guitar Voice Violin Cello Viola Trumpet Trombone Saxophone Flute Clarinet Drums Bass Guitar Organ Synthesizer Accordion Banjo Ukulele Mandolin Recorder Electric Violin Fiddle Double Bass French Horn Tuba Piccolo Mallet Percussion Orchestral Percussion Oboe Bassoon English Horn Conga Music Keyboard Electric Guitar Classical Guitar Acoustic Guitar

My teaching style is based on each student's needs. Some students like to learn at a fast pace and others like to go slower. I listen carefully and ask questions, basing instruction on what creates success. My approach is to make learning fun. I bring markers and stickers and other visual aids to create a unique learning process. I like to use games and sayings to help remember things, many of which I've developed over the years. Read More

Kimberly H

Instruments: Piano Guitar Voice Violin Cello

I started playing the piano when I was 7 and the cello when I was 8. I took lessons in both instruments growing up, adding playing the guitar in High School and the violin in college. In public and private schools, have taught elementary classroom music, elementary orchestra, and High School Orchestra. Read More

Teacher In Spotlight

Kevin M

Instruments: Guitar Electric Guitar Acoustic Guitar

What advice do you have about practicing effectively?
In the beginning of learning a new skill, whether it be a new scale or a new solo, I always recommend using a tape recorder (or app) and a metronome. Recording yourself and playing that recording back may seem uncomfortable at first, but I find students love hearing their improvements from day one and on for themselves. In addition to the recordings, a metronome can be incredibly useful when learning to fluently play a new scale or passage. Having the appropriate phrasing and timing is also quite practical when playing in a band situation, so these skills can pay off in a big way!

How do I know if my child is ready to start lessons?
A student's readiness for lessons is based on a number of factors that may be present in some and not in others. A big pre-requisite for taking lessons, particularly in younger students, is a genuine interest in learning the instrument. A student who is not interested in the content obviously will not retain the information as well as one who is passionate about what they're learning. As far as an age range goes, I've seen students as young as three take music lessons. However, kids usually form a genuine interest in learning around 7 and up from my personal experience.

When will I start to see results?
That question is sometimes more difficult to answer than people give it credit for. Typically, I do not like to put timetables or due dates on a student's progression. Doing this is an easy way to demotivate and un-inspire even the best of players. Instead, I encourage students to set personal goals for themselves. This teaches the student the incredibly useful skill of taking accountability for their own progress. If a student sets a goal for themselves, it's not their instructor who keeps them honest, it's themselves. And that is the true measure of progress.

Why did you choose your primary instrument?
I chose the guitar for a few reasons, but they can be summed up in two words: Jimmy Page. I grew up listening to classic music that my dad had on in the workshop all of the time, such as Led Zeppelin, Van Halen and Guns N Roses to name a few. I didn't know what the feeling was I got when I listened to this music when I was younger, but as I got older, I recognized that feeling as inspiration. I was inspired, fascinated and most of all engaged by guitar oriented rock, so when I was in my early teens, I decided I wanted to learn how to do it myself.

When did you decide to become a professional musician? Was it a gradual decision or was there a defining moment for you?
I decided to be a professional musician pretty much the second I felt the intense happiness I experienced at my first public performance! The first band I'd ever played in got booked to play at a small benefit show and it was off to the races from there. Eventually when I found out I could get payed for my skills is when I decided to focus on music as a career and not simply as a hobby. It was a gradual shift from being a hobbyist, but I also played it safe and kept a consistent day job. Looking back in retrospect, I could have gotten when I am now alot faster by just jumping in!

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Recent Articles from the Musika Blog

Piano Fingering Exercises: Scales, Chords, and More

...F#, G#, A               A Minor: Notes: A, B, C, D, E, F, G, A               E Major: Notes: E, F#, G#, A, B, C#, D#, E         E Minor: Notes: E, F#, G, A, B, C, D, E                 The middle, or 3, fingers should always line up, so if they don’t, stop and try again. We recommend playing extremely slow to start with until you begin to feel the more confident. As... Read More

Parts of an Opera: A Quick Beginner's Guide

...Purcell’s Dido and Aeneas starting topping the late Baroque charts. Alessandro Scarlatti (the father of Domenico) took it upon himself to introduce something new.   He came up with a three section overture in the 1680s, as opposed to Lully’s two. Scarlatti also employed a fast-slow-fast form (perhaps he thought audiences were harder to engage when the slow movement came first). To hear a bit of late 17th century Scarlatti opera that showcases his new overture style, listen to La Rosaura. He wrote it in 1690.   Scarlatti’s Italian Overture style took Europe by storm during his lifetime, and not ... Read More

Soloing Over Blues Changes

...Harmonically, this doesn’t really fit, but the cycle of fourths progression will be strong enough that it will sound correct. A good rhythm section will hear what you’re doing and play the chords. Likewise, you should hear when a rhythm section hits that bII chord on beat one and know what they’re doing. If they don’t hear what you’re doing, it’s okay. It still sounds good. For the cadence in this example, I used “Coltrane changes”. This is another example of something that isn’t quite correct harmonically, but sounds good because of its strong internal harmonic motion.   In addition to altering the harmony ... Read More

Jazz Scales: The Whole Tone Scale

...note group acts as a passing tone. You still get the sound of the whole tone scale, but it creates a more interesting line. Application to Improvisation As with the diminished scale, the whole tone scale can be applied to any dominant chord. The key is using your ear. The rhythm section can choose to alter any dominant chord to have a sharp five. As a soloist, you can imply the whole tone sound and the rhythm section should hear it and respond. A good way to practice applying this scale to improvising is to practice it over a blues piece. ... Read More

Tips for Choosing Your First Guitar

...produce sound. Although practicing without an amplifier is possible (and done quite often), it is not advisable at the early stages because you can develop some bad habits.   Whatever decision you make when choosing your first guitar, here are a few pointers that will make your playing more fun. First of all, your instrument should have a straight neck, easy action, and tone controls that provide you with the sound you want. Let’s take a closer look at these:   A straight neck: This is vital to the usability of the guitar. A slight bend is common but a curved neck ... Read More
Piano Fingering Exercises: Scales, Chords, and More
Parts of an Opera: A Quick Beginner's Guide
Soloing Over Blues Changes
Jazz Scales: The Whole Tone Scale
Tips for Choosing Your First Guitar

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