Capital University (Music Education)
The Ohio State University (Master's)
A proud Colonel White high school graduate, I have served as Music Director in the central Ohio area for over 30 years. After a career that demonstrates expertise in various artistic genres such as Music Theory, Band, Orchestra, Jazz Band, and Choir, I now tutor students privately.
I now have 15 piano students, and am currently setting up my schedule for the upcoming season.
We can get you started with just a phone call. Your personal reasons for wanting to play or sing are important. Motivation is important. We create a unique experience for each student.
There's no "cookie cutter " approach. My students each have their own reasons for desiring to learn to sing, play piano, or start a band instrument.
A few of my students are starting a second instrument for college, while another lady wants to learn to play to accompany her choir. Sometimes it starts with a song one hears on the radio. Many students simply want to return to playing the instrument they played when they were younger. And all these determined musicians demonstrate diverse musical tastes that run from jazz to classical, or country to opera! We create a unique course, plan, and strategy based on personal preferences, practice time, and learning mode.
I work for a balance! Every student should have good reading skills, as well as the ability to demonstrate improvisational skills when required. Music, ear training, and composition skills are developed collectively and consistently through various routines, songs, and habits. A proud Colonel White high school graduate, I have served as Music Director in the central Ohio area for over 30 years. After a career that demonstrates expertise in various artistic genres such as Music Theory, Band, Orchestra, Jazz Band, and Choir, I now tutor students privately.
I now have 15 piano students, and am currently setting up my
Capital University was my first comprehensive study of composition, theory and form. I have composed several songs commercially. I am an active member of a Nashville songwriting group. I performed and composed with the Ohio Players many, many, many years ago. Knowledge of musical forms is essential when dealing with composition. However, it is not a skill set to be "taken off the shelf" and saved for special occasions. Rather, compositional fundamentals should be constantly demonstrated and utilized (like I, IV, V chords or working within a blues form.)
Improving a student's relative pitch is a skill that should be constantly refined, and improved! This is a skill set that many unfortunately forego. Such practices may have great repercussions. Total dependency upon a printed page may result in a somewhat mechanical approach to reading and even performance! The ability to recognize major and minor 3rds , 4ths and 5ths are advantageous to all musicians regardless of style or performance level. Improvisation is another skill that should be consistently cultivated to improve confidence and musicality - regardless of style and performance level.
I taught general music for many years while working in the Dayton Public School System.I saw every student in the school. The challenge comes when interacting with students that would rather be somewhere else - anywhere else. Students need to learn how music has functioned throughout history. - and how it relates to their very existence. I enjoyed helping students discover the many ways music helped to shape their world, and the role it plays as we look to a challenging future with many unknowns. Learning how music works to reflect the customs, totems and aspirations of an ever-changing society can be vital to America's youth.
I have taught piano for over 24 years, I was a piano minor at Capital University (I was teaching piano even before I graduated). My graduate experience includes study in Music Pedagogy as it relates to the required skill set of the keyboard and its relationship to that of other orchestral and band instruments. Piano training begins with the need to train fingers to think independently - rather than as a group (ie throwing a ball, waving goodbye, etc) Scales have always been a good place to start - but there are also other considerations to ponder. As we encourage an acceptable hand position, (playing on the pads of the fingers) we can also allow for some experimentation with regard to note selection and style. The years have taught me that you cannot teach with no students. I mean to say that we must sell, or justify what we are teaching, the content of that teaching, and all considerations given to maintaining student interest and participation. It's not enough to simply throw up our hands and say "I don't know why he quit." These times are very challenging, with many choices and attractions for our young people. We have to "earn" out place. Care should be taken with regard to those materials chosen for our young people. This is where style and personal preference take on great importance. A good, satisfying, fundamentally sound experience is vital to student retention. Initially, discussion and demonstration should at some point revolve around playing only with the fingers vs using weighted hands and arms. Note should be taken to discover the different types of sounds achieved with various playing techniques.
Capital University prepared my for my vocal coaching, teaching career in many ways. I was a glee club member, singing throughout Europe. Vocal pedagogy was required. I have since served in the role of Choir Director for over 10 years. Currently, I serve as Music Minister, Choir Director and piano accompanist for Faith Presbyterian Church in Huber Heights. Students need to discover how to use their human instrument. Learning how to sing (singing Correctly) can lead to more sound - more voice - and more personal enjoyment. Experimentation with various styles and genres can make this process more enjoyable.