Ball State University (Music Performance)
DePaul University (Master's)
Nothing makes me happier than when a student connects to their work in a meaningful and personal way. Years of "ah-ha!" moments, paired with my own intimate understanding of the subjects I teach, help me guide my pupils to this same intimate, and applicable understanding. I have had the pleasure of teaching to students of diverse backgrounds and various priorities in their pursuit of supplemental and primary instruction. These include the youngest beginners (from age 3), exploring the world around them and developing their own interests; the college or prospective student looking to prepare for upcoming auditions, and the adult learning who wants to pick up a new hobby.
I bring to the table a comprehensive background in music spanning two degrees, years of various performances from the concert hall to the bar stage, and over a decade of teaching. My experience with music started as an innocent passion to learn guitar and communicate through music - countless hours of practice masked by the simple joy of expression. This led me to learn more from friends, teachers, and professionals, and eventually to pursue music at the conservatory level. The work was fulfilling and I was always able to channel what I learned into my performances, whether it was in a recitals, compositions, songwriting, or gigs with various bands. And most of all, the urge to share the knowledge I gained and the skills I acquired, ran parallel to my development as an artist - desire to share the joys of exploration, self-driven discovery, and honed application. It was always teaching that completed these creative and expressive endeavors, and it is still teaching that drives and focuses my artistic passions.
My undergraduate and graduate studies were marked by rigor and discipline in both my primary study of the guitar, and essential skills of musicianship (ear training, music theory, and music history). As I forged my own understanding of the discourse, I assisted both pupils and peers in developing their own understanding and appreciation of the materials. I came out of my education with a cognitive and aural understanding of the inner workings of music, and how they developed over the context of music's rich history. All of this I channel into my own performance and seed into my teaching.
At the end of the day, my task is to help those who rely on my mentorship and training, not just to acquire an immediate gain in knowledge and skill, but to grow as individuals. Let me guide to personal and effortless mastery. Nothing makes me happier than when a student connects to their work in a meaningful and personal way. Years of "ah-ha!" moments, paired with my own intimate understanding of the subjects I teach, help me guide my pupils to this same intimate, and applicable understanding. I have had the pleasure of teaching to students of diverse backgrounds and
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.
Having been through an undergraduate program in music, I understand the intimidating trial sight-singing and ear training can represent for the student who has never drawn aural connections to otherwise cerebral elements of musical construction. My tract for ear training begins with matching pitch and sequences through scales (solfege - relative "do" - and scale degree), interval identification and replication, strategies for sight-reading a new melody, and (if applicable) developing an aural approach for non-tonal writing. I work with the text "Music for Sight Singing" by Robert Ottman and Nancy Rogers, as I find it to be an excellent source for exercise and instruction. Connections are made to repertoire in the student's private study where applicable.
My work in general music education draws on several sources, the most significant being my work with young guitar students (ages 3 - 14) in both Suzuki and Traditional models of private study, where I have to provide a strong foundation of general musical concepts in order to adequately prepare the student for guitar instruction. Additional experience includes after-school guitar classes with grade gaps as a wide as kindergarten through 4th grade, all in the same class. Here, too, a working knowledge of general musical concepts is necessary to properly communicate instruction for the guitar. Aspects of general music I teach include, but are not limited to, pitch (melody & harmony), time (meter, rhythm, tempo), dynamic, the various manipulations of these parameters, and drawing connections to the nature of these elements as they appear in standard musical notation.
My own private study of the guitar spans 15 years, the past 7 of which I studied with distinguished professors at Ball State University and DePaul University in classical guitar and jazz guitar. This includes advanced classes in pedagogy drawing on both traditional and contemporary models of guitar instruction and music education. My own teaching career has developed alongside this, offering instruction for audition prep in my undergrad. From my graduate work to present I have been working in studios and programs that offer private instruction and group classes in the local community (greater Chicago area).