Jenna C.

General Info

• Certified Music Teacher

  Certified Music Teacher

  Our rigorous hiring process requires a completed application; an interview with our professional recruiting specialists; personal and professional reference checks; and annual criminal background checks for the duration of each teacher's employment with us.

  
• Background Check Complete

  Criminal Background Check

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• Levels: Beginner to Advanced

• In-Home Lessons: Yes
• In-Studio Lessons: Yes
• Ages: 5 & up

Subjects Taught

Singing, Flute, Music Performance, Music Theory, Songwriting

Education

Florida State University - Music Performance - 2004-2008 (Bachelor's degree received)
San Francisco State University - Music Performance - 2008-2011 (not complete)

Specialties

I have experience (but not certification) in feldenkreis and alexander teaching methods. I specialize in "classical" music, with a particular emphasis in early music (renaissance - particularly recorders), Baroque, and the avent garde/ extended techniques (particularly flute). For singing, I am most comfortable in pop and folk styles with some Broadway and Classical.

Lesson Details

My students generally describe me as fun and laid back. However, they have all found that when it is called for, I can also be very firm. One parent has said that I "inspire confidence," which I believe stems from my patience and encouragement.

My voice students can expect to learn:

Solfeggio (Do Re Mi Fa Sol La Ti)
Vocal warmups and excercises
Breath control and breathing
Good Posture
(Abdominal) Support (vital for good, strong tone)
Diction
Music Theory
Music history to go ... along with what they are singing
Sight singing
How to keep their voice healthy
The musical styles of their choice
5-10 full songs or pieces (in 3-6 months)

My curriculum is heavily dependent on the student's level and what they wish to learn, though it does draw on solfeggio and the Kodaly method, as well as the Alexander technique and Feldenkreis methods of body awareness, which are relevant for all musicians.

My flute students can expect to learn:

Music Theory and History
Sight Reading
(Abdominal) support
Good posture
Proper tuning techniques
Breath control and Breathing (flute uses more air than any other instrument!)
Articulation
Traditional repertoire, as well as any additional student requests
Extended techniques
Exercises and warmups appropriate to each student's strengths and weaknesses

I most frequently use the Rubank method books for my students, as they build a good foundation in rhythm, fingers, and reading. I supplement with Trevor Wye's tone books for tone and breathing, as well as the Melodious and Progressive series when the student is advanced enough to start learning full pieces (usually after 3-6 months of lessons, depending on the student). Again, I draw on the Alexander Technique and Feldenkreis methods, both of which allow the student to relax, learn from their mistakes rather than chastise themselves, and get more out of their musical experience.

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About

Having been a performing musician from the age of 10, I have experience in several instruments and almost every genre of music. With a bachelor's degree in flute performance, and most of a master's in the same (to be completed in the next year), my primary focus has been on classical music in flute, with an emphasis in orchestral playing and contemporary music.

I began focusing on singing a few years after flute, to accompany my guitar playing, and began writing songs in the pop/folk ... genre. I have been singing both solo and with choirs for the last 10 years. The human voice and the flute are remarkably similar in the way the body is used to produce sound, and I use very similar techniques when focusing on breath control and support for both.

I have been teaching privately for the last 4 years, and it is joy. It is important to me that my students enjoy their lessons and improve each week. I do stress that all my students learn to read notes and rhythms, and when the time comes, the fundamentals (and more!) of music theory.

Every student is different. We all learn differently and enjoy different aspects of the music-making process. Rather than push my students to do everything my way, I like to find what way works best for them while keeping them interested. I love working with beginners and younger students just as much as I do with adults and students at more advanced levels, and I also have experience working with students with special needs.

Hearing a student sing or play their first full song is just as gratifying as hearing one play their first concerto. The best part is seeing each one grow as a musician, and being a part of that process.

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