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Oberlin Conservatory/Oberlin College (BM Flute BA French)
Peabody Conservatory of The Johns Hopkins University (Master's)
Peabody conservatory Music (PhD)
Andrew is a first year Doctoral Student (DMA) in the studio of Marina Piccinini at the Peabody Conservatory of the Johns Hopkins University where he previously earned his MM as a full-scholarship recipient. While at Peabody, he have twice been featured as a soloist with the Peabody Camerata, performing Edgar Varèse's "Density 21.5" for flute solo and Pierre Boulez's "...explosante-fixe..." for flute and chamber orchestra. In addition, he was named first prizewinner in the 2012 Baltimore Music Club solo competition. An active proponent of promoting chamber music, Andrew was recently named Flutist and Co-Artistic Director of the Light Street Chamber players in Baltimore. Andrew completed his undergraduate studies at both Oberlin College and Conservatory where he earned degrees in both Flute Performance (BM) and in French (BA) while studying with former Orchestre de Paris solo flutist, Michel Debost. At Oberlin Andrew served as principal flutist of the Oberlin Orchestra and Chamber Orchestra and was also a secondary flute instructor for college music majors and flute minors. In the fall of 2010, he studied flute at the Conservatoire Nationale de Paris with Magali Mosnier, solo flutist of the Orchestre Philharmonique de la Radio France, as well as French painting and francophone literature at La Sorbonne – Université de Paris IV. Andrew has performed in masterclasses for Paula Robison, Marina Piccinini, Bonita Boyd, Emmanuel Pahud, Philippe Bernold, Julien Beaudiment, Carol Wincenc, Maron Khoury, Eric Lamb and Denis Bluteau and has attended summer festivals at Le Domaine Forget and l'Académie Interntionale d'été à Nice. Additional studies include Laurie Sokoloff (piccolo), Emily Skala, Jeffrey Khaner, Kathleen Chastain, Carolyn Christie, Ronna Ayscue, and Beverly Pugh-Cory. In addition to his active performance calendar, Andrew is also an active and passionate teacher and currently maintains an active studio between DC and Baltimore, using his own performance experience to provide a strong foundation for his own pedagogical techniques. Andrew is a first year Doctoral Student (DMA) in the studio of Marina Piccinini at the Peabody Conservatory of the Johns Hopkins University where he previously earned his MM as a full-scholarship recipient. While at Peabody, he have twice been featured as a soloist with the Peabody Camerata, performing Edgar Varèse's "Density 21.5" for Read more
I have been working with Andrew in French for about a month and I must admit that for someone so young he maintains a very professional persona without being overbearing. I am impressed with his knowledge of the subject and his tolerance of my inadequacies in this area as an adult student, who is old enough to be his mother. He is definitely pushing me and has set high expectations for me as a second language learner, which I hope we can meet. He is very understanding of my limitations and is proving to be a patient tutor of the French language. I appreciate that he was willing to come to my home once a week at the appointed time to work me and I am enjoying the opportunity of getting to know him as I learn from him. Have a great Thanksgiving Day.
I think Andrew is a wonderful instructor. He is very patient with me even when I do get a little upset with myself. I love playing my flute and Andrew makes sure that I won't give up. He is very encouraging. Thank you Andrew.
In most cases, tutors gain approval in a subject by passing a proficiency exam. For some subject areas, like music and art, tutors submit written requests to demonstrate their proficiency to potential students. If a tutor is interested but not yet approved in a subject, the subject will appear in non-bold font. Tutors need to be approved in a subject prior to beginning lessons.
I always like to use fixed Do when teaching ear-training - i.e, "Do" is always "C" and "la" is always "A", regardless of which tonality we may be in. I like to work with a keyboard and the Bitsch singing études and use scale degrees or numbers to provide helpful pitch resolution techniques (do, re, mi become 1, 2, 3, for example. This is helpful because 2[re] will want to resolve to 1[do] and 7[si] will want to resolve up to 1[do], for example).
I have a Bachelor of Music in Flute performance from the Oberlin Conservatory as a student of former Orchestra of Paris principal flutist, Michel Debost, and am currently pursing pursuing my master of music at the Peabody Conservatory of Johns Hopkins University as a full-scholarship student of renowned international flute soloist, Marina Piccinini. I believe strongly that a sound playing technique and good ear are the keys to being proficient on an instrument. To this end, I have my students master their scales and intervals while concurrently working on repertoire for solo and ensemble competitions, auditions, and regional festivals. I have been teaching flute for years at institutions and organizations such as Musika LLC, The Oberlin Conservatory, The New Jersey School of Music, and the Avon School of Music (OH). I love to teach what I love and have had students from ages 6-60!
I have been tutoring French for as long as I can remember! The language and its constituent arts/artists are my second passion in life after music and I hold a second bachelors degree in French from Oberlin College as well as credits towards a French masters from La Sorbonne - Universite de Paris IV. In terms of subject matter, my particular foci are the early writings of the enlightenment and lineage of French painting after David. Je voudrais tellement parler avec vous!
I have been teaching piano for about 5 years now and pursued piano as a minor during my time at the Oberlin Conservatory. I currently maintain an active piano studio of all levels and ages and we do extensive work on methodology and theory while also tackling repertoire.
When approaching reading, whether it be basic skills or literary analysis, I always find it best to be sure that the student understands that such a skill is a very ENJOYABLE one to have. Ergo, when I tutor such students, I try to be as relaxed as possible while always finding creative ways to focus on the basics as well as development of syntax skills. Additionally, it is my experience that the link between skills in writing and reading go hand-in-hand so I try to provide as much mental "cross-training" as possible. I myself hold a bachelors degree (BA) in french with a focus on literature from Oberlin College as well as graduate credits in francophone and comparative literature/art history from La Sorbonne - Université de Paris IV and am currently pursuing my masters at the Peabody Institute of Johns Hopkins University.
Teaching sight-singing is much like teaching to read any language (as music in fact should be categorized as a language itself). I first like to establish that a student can indeed read music fluently, and after that there is a large overlap with ear-training in strengthening a students ear and, subsequently, his or her ability to sing an unprepared piece from a page. Internalization of intervals and resolution tones are integral, and then a mastery of chromaticism and modulation will prove to be the final building block in total musical fluency.
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