Lesson Feesfrom $50.00 / 30 Minutes
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About
My musical education has been a lifelong journey encompassing a variety of activities on four continents: performing since childhood; teaching private lessons, music history and theory courses, and student success seminars; speaking and publishing on musical topics; and consulting on a wide range of projects. Formally, I hold a PhD in musicology and graduate certificate in historical performance from Texas Tech, MA in music from Ball State, and BA in vocal performance from Olivet Nazarene University. I currently maintain a private studio in San Diego and teach for Olivet Nazarene University and Miramar College. Previously, I served on the faculties of Knox College, Texas Tech University, Meridian Music (Carmel, IN), IUPUI Music Academy, Ivy Tech Community College, and Cornerstone Center for the Arts (Muncie, IN).
Most importantly, these experiences have taught me that we live in worlds of meaning--and that those worlds are powerfully musical! On our paths of discovery together, we explore each person's relationship(s) with music in those worlds, unlocking new possibilities for technique, interpretation, and creativity that extend well beyond musical encounters.
Since giving my first lesson in 1999, I have worked with more than two thousand students in private studios, college classrooms, and community programs. In that time, I have consistantly observed that every student comes to each learning experience with a set of skills ready to harness for further growth, whether performing lightning-speed musical flourishes or recognizing a song they’ve heard previously. My approach individualizes students' experience, expanding abilities and developing new skills in service of creative decision-making.
When meeting a new student, I like to get a sense of where they've come from and where they're going--their musical interests, backgrounds, and goals. Lessons typically emphasize expanding or transforming something they already can do, some sort of skill they already have--even if they don't realize it. Students make room in the present to encounter their future music-making.
Curriculum is individualized to student needs and interests, particularly with regard to repertoire. If you have a method book you use already, we can continue with it and supplement as needed toward your goals. Otherwise, we can begin with some specific options:
Voice lessons are the most flexible in terms of methods books--in the early stages of building technique, technical exercises typically are taught without the aid of printed material, and a variety of songbooks may be used for applying those skills. As students advance to more difficult repertoire, they may use style-specific methods like Nicola Vaccai's Practical Method for Italian Singing, Pauline Viardot's An Hour of Study, Giulio Caccini's Le nuove musiche, or Denis DiBlasio's Guide for Jazz and Scat Vocalists, among others.
Piano students typically will begin with age-appropriate versions of Faber & Faber's Piano Adventures (my preference), Alfred's Basic Piano Library, or Bastien's Piano Method. In later stages of development, they may add Hanon or Czerny exercises.
Guitar students may begin with the Hal Leonard three-volume Guitar Method or Mel Bay's two-volume Classic Guitar Method, depending on student goals.
Depending on level and subject, music theory students may use Open Music Theory, Ryan Endris' Music Theory for Beginners, Clendinning's and Marvin's The Musician's Guide to Theory and Analysis, Mark Levine's The Jazz Theory Book, Kostka's and Payne's Tonal Harmony, Peter Schubert's Modal Counterpoint, or Ottman's and Roger's Music for Sight Singing.
We will work together to design the best curriculum for your own circumstances, including possibilities beyond those listed. In all cases, lessons will include concepts, activities, and repertoire beyond specific methods.