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A brief look at Mike C.'s career will show that he is a quintessential guitarist and teacher. Unmatched and in a league of his own, his 25+ year career includes training at Berklee College of Music, UMass Lowell, and innumerable performances with diverse artists such as Gumbo Diablo, Flipside, Soul City, Dave Anthony Orchestra, The Mike Fritz Band, The Times, Soul Inspiration, Gary And The Gang, and his own New Orleans-inspired funk project Trick Bag, performing anything from jazz, reggae, cumbia, forro, blues, funk, R&B, rock and roll, and everything in between. He looks forward to working with students of all skill levels and ability.
Ear training or aural skills is a skill by which musicians learn to identify, solely by hearing, pitches, intervals, melody, chords, rhythms, and other basic elements of music. The application of this skill is analogous to taking dictation in written/spoken language. Ear training may be contrasted with sight-singing, which is analogous to reading aloud in language. Ear-training is typically a component of formal musical training.
The study of ear training includes basic solfege syllables (Do, Re, Mi, Fa, Sol, La, Ti, Do) as well as chromatic solfege syllables and a study of rhythms in regards to conducting patterns.
Transcription is a necessary skill for today's working musician as well as for the more casual hobbyist. Note recognition and the ability to realize the functions of these notes within a piece is invaluable to the musician. My own experiences as a professional transcriptionist and arranger. In my college training as a music major, I have passed stringent guidelines necessary to meet the Berklee College of Music Ear Training requirement(4 semesters) such that I tested out of Visual & Aural Music Perception requirements(6 semesters required). I have studied ear training under world-renowned educators such as Scott McCormick, John Pierce, Bill Brinkley, and saxophonist Darcy Hepner
Having acquired my degree with a focus on music education, I've found that reading music and at least an intermediate understanding of music theory is necessary to perform well on any instrument. Lessons with me are geared toward helping the student reach their goals, whether their focus be on songwriting, playing professionally, or playing/singing as a hobby. As a performing professional, I have used my music skills as bandleader, session musician, recording artist, pit orchestra musician, etc.
Emphasis is placed on achieving a solid foundation in the standard technical challenges of professional performance, including scales, chords, reading, improvisation, interpretation, and standard repertoire. Also included is intensive training in sight-reading and in the understanding of chord voicing.
I am alumni of Berklee College of Music as a guitar principle, having studied under world-reknown artists and educators such Garrison Fewell, M.T. Szymczak, Mike Ihde, Paul Landsberg, Lauren Passarelli, etc. I've also acquired my music education degree from University of Massachusetts/Lowell, studying under such artists/educators as Mark White, Harry Chalmers, Jon Wheatley, as well as performed in ensembles under pianist Tony Mele, trumpeter Nat Paella, percussionist Jeff Fischer, etc.
Music theory is the study of how music works. It examines the language and notation of music. The study of music theory includes solfege syllables, rhythm studies, general harmony rules, and music notation rules.
I have been teaching beginning/intermediate piano for over 10 years. I teach with a focus on reading music and ear training. I have current students that I have been teaching consistently for over five years.
When singers sight-read, it is often called sight-singing. Some authors, according to Udtaisuk, use the term "sight-singing" for vocal sight-reading. As with sight-playing, Udtaisuk advocates and uses the more descriptive term "sightsinging" for vocal sight-reading, because sight-singing combines sight-reading and singing skills.
The ability to sight-read partly depends on a strong short-term musical memory. I have found sight-singing to be invaluable in helping with Ear Training and with reading music on one's instrument.
Transcription is a necessary skill for today's working musician as well as for the more casual hobbyist. Note recognition and the ability to realize the functions of these notes within a piece is invaluable to the musician. My own experiences as a professional transcriptionist and arranger. In my college training as a music major, I have passed stringent guidelines necessary to meet the Berklee College of Music Ear Training requirement(4 semesters) such that I tested out of Visual & Aural Music Perception requirements(6 semesters required). I have studied ear training under world-reknown educators such as Scott McCormick, John Pierce, Bill Brinkley, and saxophonist Darcy Hepner
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