My Philosophy of Instruction
Learning to read music is like learning to read a language of the earth, a language loved and enjoyed by peoples of all lands.
Music is constantly being created, taking many forms, and can be molded to take on its own unique appeal to various cultures.
Some of the world’s music expresses the feelings of individual ethnic groups such as a simple, lilting melody or an African tribesman’s flute as he plays for his family at sunset, or the chanting sounds of a Tibetan monk, the rhythmic melody of a group of Polynesian singers or the ancient songs of American Indian tribes. In western cultures music may be a rock group made up of fun-loving, idealistic high school fries, a Beethoven symphony being performed in a great performance hall by a worldrenowned orchestra, or a song sung by school children to their parents at a school play.
Music belongs to the phonetic arts and contributes to the formation of the personality of the student, to cultivate and stimulate the sensitivity. Music enriches students’ cultural heritage to express themselves, giving meaning to many concerns of their inner world.
I want to teach in such a way that every student learns and learns well. If a student is not understanding or remembering the lesson then I must change my approach, rather than thinking that he/she is slow or unable to learn.
At Shazkya’s Grand Staff Music Studio, I strive to find the key to unlock a student’s ability. This is the art of pedagogy. This is where I must have the capacity to improvise and create situations where the student can succeed. I acknowledge that every student has an individual mode of learning, and I must strive to reach each student in a way that he will respond positively to his/her mode, be it visual, aural or kinesthetic. I tell my students that they will have two teachers: me, once a week, and you six times a week.
I want my students to learn with accuracy, not speed, quality, not quantity, and practice, not repetition. I want them to achieve the 3 P’s: Passion, Preparation, and Performance, where each piece should begin with a silence, the blank canvas on which we paint. I want them to understand that slow practice equals fast progress, fast practice equals slow progress, and no practice equals no progress.
When I look at my students I feel I am looking into the faces of bright persons. I want them to learn all I know and more. I want them to stand on my shoulders, to be better than I am. Then, humankind advances and improves.
I believe that music education, specifically private instruction, should be available to everybody; therefore, I teach students of all ages, levels and backgrounds, even in Spanish. Any student who can adhere to the studio’s policies will be welcomed into the studio following an initial interview. I want them to understand the musical elements such as rhythm, melody, harmony, timbre, texture, shape, expression and interpretation.
They will be taught to read, write and compose a piece of music. Most importantly, our music study is a product of a successful relationship involving effective communication between the student, the parent(s) and the teacher. Creating a positive and rewarding experience in every private lesson, I expect the same commitment and energy from those with whom I work.
I teach note reading in a traditional (“classical”) style, using methods such as Faber & Faber’s “Piano Adventures,” Alfred’s “Adult Piano Course,” and Helen Marlai’s “Succeeding at the Piano.” I use supplementary materials, such as activity, sight-playing and theory books accompanying the lesson method book. Broad musical knowledge and the ability to play music of different styles are important attributes to develop. I frequently incorporate pop, sacred, jazz and other contemporary or non-traditional literature to supplement the lesson repertoire. Duets and other ensemble playing are also encouraged.
My purpose is to influence the lives of my students in a positive way, to help them develop to their fullest potential by encompassing the values and gifts of music. Establishing a positive mental attitude for quality practice, and encouraging a professional presence for performance, is valuable and important.
Several recitals are held each year, which range from formal concerts to casual outreach performances at local healthcare centers, malls and other venues.
I also see the importance of continuing education for myself, and consistently perform, take coursework, and attend conferences and workshops to remain engaged in the music teaching community and to learn new methods and techniques to use with my students. Music never ends!
To play without passion is inexcusable! — Ludwig Van Beethoven
Music must never offend the ear. — Wolfgang Amadeus Mozart
Learning to read music is like learning to read a language of the earth, a language loved and enjoyed by peoples of all lands.
Music is constantly being created, taking many forms, and can be molded to take on its own unique appeal to various cultures.
Some of the world’s music expresses the feelings of individual ethnic groups such as a simple, lilting melody or an African tribesman’s flute as he plays for his family at sunset, or the chanting sounds of a Tibetan monk, the rhythmic melody of a group of Polynesian singers or the ancient songs of American Indian tribes. In western cultures music may be a rock group made up of fun-loving, idealistic high school fries, a Beethoven symphony being performed in a great performance hall by a worldrenowned orchestra, or a song sung by school children to their parents at a school play.
Music belongs to the phonetic arts and contributes to the formation of the personality of the student, to cultivate and stimulate the sensitivity. Music enriches students’ cultural heritage to express themselves, giving meaning to many concerns of their inner world.
I want to teach in such a way that every student learns and learns well. If a student is not understanding or remembering the lesson then I must change my approach, rather than thinking that he/she is slow or unable to learn.
At Shazkya’s Grand Staff Music Studio, I strive to find the key to unlock a student’s ability. This is the art of pedagogy. This is where I must have the capacity to improvise and create situations where the student can succeed. I acknowledge that every student has an individual mode of learning, and I must strive to reach each student in a way that he will respond positively to his/her mode, be it visual, aural or kinesthetic. I tell my students that they will have two teachers: me, once a week, and you six times a week.
I want my students to learn with accuracy, not speed, quality, not quantity, and practice, not repetition. I want them to achieve the 3 P’s: Passion, Preparation, and Performance, where each piece should begin with a silence, the blank canvas on which we paint. I want them to understand that slow practice equals fast progress, fast practice equals slow progress, and no practice equals no progress.
When I look at my students I feel I am looking into the faces of bright persons. I want them to learn all I know and more. I want them to stand on my shoulders, to be better than I am. Then, humankind advances and improves.
I believe that music education, specifically private instruction, should be available to everybody; therefore, I teach students of all ages, levels and backgrounds, even in Spanish. Any student who can adhere to the studio’s policies will be welcomed into the studio following an initial interview. I want them to understand the musical elements such as rhythm, melody, harmony, timbre, texture, shape, expression and interpretation.
They will be taught to read, write and compose a piece of music. Most importantly, our music study is a product of a successful relationship involving effective communication between the student, the parent(s) and the teacher. Creating a positive and rewarding experience in every private lesson, I expect the same commitment and energy from those with whom I work.
I teach note reading in a traditional (“classical”) style, using methods such as Faber & Faber’s “Piano Adventures,” Alfred’s “Adult Piano Course,” and Helen Marlai’s “Succeeding at the Piano.” I use supplementary materials, such as activity, sight-playing and theory books accompanying the lesson method book. Broad musical knowledge and the ability to play music of different styles are important attributes to develop. I frequently incorporate pop, sacred, jazz and other contemporary or non-traditional literature to supplement the lesson repertoire. Duets and other ensemble playing are also encouraged.
My purpose is to influence the lives of my students in a positive way, to help them develop to their fullest potential by encompassing the values and gifts of music. Establishing a positive mental attitude for quality practice, and encouraging a professional presence for performance, is valuable and important.
Several recitals are held each year, which range from formal concerts to casual outreach performances at local healthcare centers, malls and other venues.
I also see the importance of continuing education for myself, and consistently perform, take coursework, and attend conferences and workshops to remain engaged in the music teaching community and to learn new methods and techniques to use with my students. Music never ends!
To play without passion is inexcusable! — Ludwig Van Beethoven
Music must never offend the ear. — Wolfgang Amadeus Mozart