For Intermediate To Advanced Students
I have, since the earliest days of my teaching career, adopted a corrective approach to teaching. Profoundly affected by a book I read in 1980 “The Art Of Playing The Piano, A Scientific Approach“ by George Kochevitsky, the book proved scientifically that all music is played by ear, i.e., if you can’t hear it you can’t play it. According to Kochevitsky everybody plays exactly they way they hear which means your playing is an exact representation of your state of mind! This approach has enabled me to analyze a musician‘s state of mind by the way they play. The age-old adage “Attitude Is Everything” then has a strict scientific foundation. Most problems with playing have to do with they way you‘re thinking, conceiving and perceiving playing music. When you change the way a person thinks you achieve radical and global change.
A proponent of Radical Change I have found that students who have been playing long enough with inappropriate mind sets experience “a ring of truth” precisely because they have been playing wrong for long enough to recognize when something is “right.” (For example, those that have worked on Forward Motion instantly recognize the difference between playing with or without Forward Motion.) Most often, to be made aware of a problem is to solve it.A corrective approach is only practicable for intermediate and advanced students, musicians that are actively playing on the bandstand in a group context. Kochevitsky‘s approach is to stress “Process over Theory.“ Theory must must be subservient to Process. I do offer many theories of improvisation (see below) but in a way that changes the way you think.
All of your problems with playing are universal not personal and are applicable to any instrumental. Over the years I’ve seen the same student a thousand times. To list these problems here would be impractical as each student has different sets of problems and must be dealt with on a case-by-case basis. Keep in mind that to be able to teach a student well I have to learn about the way a player uses their mind, body and emotions during the process of performing. It would be unusual to get to know a musician’s good & bad habits in one lesson.
A Note To Those Who’ve Bought Forward Motion: Are you practicing it correctly? Many of my private students who’ve studied FM with me still tend to use the outmoded technique of mindless repetition. Check with me to confirm your are using FM practice techniques in the right way.
- Forward Motion
- Forward Motion Fingerings
- The Four Components of Melody
- Cell Theory
- Shape Making
- Forward Motion and Pentatonics
- Playing in Half-Time
- Articulation & Dynamics
- Harmonic Systems
- Time & Tone
- Sonic Vs. Mechanical Technique
- Stagefright and Relaxation
- How To Practice
INTRODUCTORY OFFER: Four Individual Lessons: $300
Individual Lessons: $100 per hour
It is recommended that lessons can be video recorded for repeated viewing using Quicktime.
Lessons may last longer than 1 hour.
If arranging lessons, especially in time zones other than the East Coast of the US , or you need to discuss anything with me, please call me at 845:932-8798 or email me to set up a lesson time at firstname.lastname@example.org
NOTE: Video chat lessons are via FaceBook Video Chat or Skype. Broadband required.
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