Cheryl Berard
About
I enjoy teaching people of all ages and levels of musical experience. My students have included very young beginners, mature adults studying piano for the first time, and advanced students preparing to begin challenging programs at conservatories of music. I attended Peabody Conservatory for my Bachelor of Music degree. I continued my studies at Florida State University, from which I received a Master's in Musicology. Subsequently, I received a Doctor of Musical Arts degree in Historical Performance from Boston University. After completing my degree at B.U. , I became a staff accompanist, providing collaborative support for chamber music concerts, voice lessons, and student juries. My teachers have included Karyl Louwenaar and Maria Clodes (piano); Webb Wiggins and Mark Kroll (harpsichord); Peter Sykes (historical pianos), and David Enlow (organ).
My performing experience includes solo recitals given at the Smithsonian Institution (as part of the Historical Sounds at Noon series), at the University of Pennsylvania, and at First Congregational Church in Cambridge, Massachusetts; I collaborated with other musicians for performances at the Alabama Shakespeare Festival, Oberlin Baroque Performance Institute, Boston University Concert Hall, and the Goethe Institute. I was a participant in several fringe concerts and historical instrument demonstrations at the Boston Early Music Festival. I have also performed at Langston Hughes Public Library, at the Maple Grove Celebration Room in Kew Gardens, and in churches and synagogues in Manhattan, Brooklyn, and the Bronx. For two consecutive years I participated as piano accompanist for the New York September Concert, a combined choral and orchestral concert commemorating September 11th.
I have collaborated with singers and instrumentalists to perform musical theater, opera numbers, cantatas, oratorios, contemporary music, and songs from many cultures. I've played in community outreach concerts featuring Broadway tunes, oldies, pop music, folk, and patriotic music. I have also sung in college and community choruses, an opportunity which has given me greater sensitivity when accompanying other musicians. Repertoire of particular interest to me includes English piano music, chorale preludes for organ, and piano transcriptions of vocal and orchestral works. I am currently on the teaching staff at Amadeus Music School.
I am a patient teacher and prioritize the progress and well-being of my students. I will challenge students to think on their own, while always giving guidance and encouragement. At the same time, I believe in thoughtful focus on proper technique, rhythmic skills, and musical expression; when a student is able to connect with the mood or character of a song, he or she takes a big step towards understanding it. I tailor the pacing and content of each lesson to each individual's needs. For online instruction, it is often necessary to proceed at a slow to moderate pace, making sure that the student understands the teacher at every step. As the student progresses, I become familiar with his or her learning style. I can then assess whether emphasizing a visual or aural approach works best. In any case, learning to read music, or improving reading ability, will be an important part of the curriculum. I take into consideration that this skill comes more easily to some than to others.
In music lessons, two-way communication between teacher and student is important. Music-making very often enhances personal development beyond musical knowledge and proficiency. I feel that keeping parents "in the loop" helps the young pianist to feel comfortable and emotionally supported.
Doctor of Musical Arts, Boston University;
Masters of Music, Florida State University
The method I use will depend on the student's level, goals, and particular musical interests! However, I will make sure that each lesson contains a technical dimension (e,g, 5-note warmups or scales, working on different styles of touch, musical imitation games), a new or previously assigned composition, and opportunities to be creative. Some lessons will touch upon theory or music history, when these topics are likely to add to the student's musical knowledge or insight. Important elements that will be presented and explored progressively: posture and hand position, melody, rhythm and meter, tempo, harmony, phrasing, dynamics, and touch. I will also introduce beneficial practice methods for the student to use, including important concepts like consistency.
By the same token, the materials we use will depend on the student's level and interests. For beginning and intermediate students, I recommend Faber & Faber Piano Adventures or one of the Alfred methods. Supplementary materials such as flash cards or notespeller books might also be used. For more advanced students, I will probably assign studies by composers such as Clementi or Czerny. These pieces focus on a particular element of technique or artistry. Students at intermediate or advanced level might be asked to purchase a collection of pieces in book form. Also, many scores for music in the public domain are available online. I do feel that it is important that the student has music to practice that he or she enjoys (okay, maybe she won't love all of it!). Students will learn music of diverse styles , moods, and time periods. For students interested in specific topics, I will recommend or send links to supplementary reading.