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Broadway Singing, English, French, Music Performance, Music Theory, Opera Voice, Piano, Singing, Violin
I grew up in southeast Michigan and have been in love with music for as long as I can remember. My mom tells me that I walked into the kitchen one day when I was about 18 months old and started singing the theme song to her favorite soap opera--in the right key! I started violin lessons when I was three years old and at five I became the youngest student ever accepted into the studio of James Waring, now-retired violinist with the Detroit Symphony Orchestra. Under Mr. Waring, I developed a solid virtuoso technique and worked on chamber music as well as solo and concerto repertoire for the violin. While I was an undergraduate student at Westminster Choir College, I continued my violin study with Dr. Mia Wu.
After six years of violin study, I added piano lessons. I studied with Catherine Rollin, an internationally-known teacher and composer. Ms. Rollin's practical approach to technique and musicianship has been extremely influential in my own teaching, and I use her exercises and compositions with my students. I studied a wide range of repertoire with Ms. Rollin but my very favorite pieces were those by Bach, Chopin, and Debussy.
I sang in choirs throughout my childhood and began taking voice lessons in high school. I eventually decided to study voice performance at Westminster Choir College, where I completed my Bachelor of Music degree in 2004. I then studied for a year at the New England Conservatory with soprano Luretta Bybee, but ultimately returned to Westminster to continue working with my teacher there, Margaret Cusack. I got my Master of Music degree in vocal pedagogy and performance from Westminster Choir College in 2008. While a student at Westminster, I performed the soprano roles of Ifigenia in Handel's Oreste, Amy in Mark Adamo's Little Women, and Janthe in Heinrich Marschner's Der Vampyr. I have coached with Daniel Beckwith, J. J. Penna, and Dalton Baldwin, and was privileged to sing in the Westminster Choir and the Westminster Symphonic Choir under Dr. Joseph Flummerfelt. With the Westminster Choir, I recorded the album Heaven to Earth and performed in Lakmé and I Capuleti e i Montecchi at the Spoleto Festival U.S.A. in Charleston, South Carolina. I also performed Handel's Messiah with Sir Neville Marriner and Nicholas McGegan, Mahler's Symphony No. 3 with Sir Michael Tilson Thomas and Lorin Maazel, Berlioz's Requiem with Charles Dutoit, and Beethoven's Symphony No. 9 with Lorin Maazel.
I have taught in the Princeton area since 2008, maintaining a studio of about twenty voice, piano, and violin students. In addition, I sing as cantor and soprano section leader at Queenship of Mary Catholic Church in Plainsboro and am a member of Princeton Pro Musica. I live with my husband, JĂ©rĂ´me, in Lawrenceville and I love to knit when I'm not teaching or performing.
*** Lesson Details ***
I offer lessons in my studio. In my studio, I have an upright acoustic piano, a full-size violin which I use for demonstration, a music stand, and a mirror so voice and violin students can check their technique. I also have a comfortable couch where parents can observe their children's lessons.
Violin students MUST bring their own instruments to the first lesson. Piano students must have their own pianos when lessons begin. I recommend an acoustic piano even for beginning students, but a full-size (88 keys) touch-sensitive electronic keyboard is also acceptable. Voice students are encouraged to practice with a piano or electronic keyboard but may use an online keyboard to check pitches if they do not own a piano. TakeLessons can put you in contact with me if you have questions about purchasing or renting instruments.
My goal in teaching is to foster a love of music and a passion for the arts. I focus on developing my students as musicians in general and on a relaxed technique that will allow for the best possible artistic expression.
I have found that my students who practice regularly find their lessons rewarding and enjoyable and tend to make significant progress. That said, not every student decides to take lessons because he or she wants to become a professional musician.
Violin and piano students should practice every day. Voice students should practice six days a week, taking one day to rest their voices both from solo practice and choirs or any other activities that involve significant vocal use.
I encourage parents of younger children to attend lessons and help their children practice. It doesn't matter if you aren't a musician yourself. Just encouraging your child to focus and to remember what he or she worked on at the last lesson will help enormously.
Practice time will vary depending on the student. All students should begin their practice with some stretching to loosen up their muscles, followed by the scales and exercises we worked on during their lessons. Students should try to practice fifteen minutes to one hour each day, depending on age. This time may be broken into two or three shorter sessions depending on the student's stamina. If you have just begun taking lessons, an uninterrupted hour of practice may be quite exhausting. You can still practice for an hour each day, but you may prefer to divide your time into three twenty-minute segments. Voice students especially are encouraged to divide their practice into shorter sessions, even if they have been singing for several years. The more you practice, the faster you will progress, and the sooner you will be able to begin working on more challenging and interesting music.
Even if you already know how to read music, we will probably spend some time talking about music theory. Beginning students especially will have a theory and/or notespeller book with assignments each week. If there is something in your theory assignment that you do not understand, you may skip that part and ask me about it at your next lesson. If you finish your assignment quickly, I encourage you to work ahead. Again, the more theory you learn, the easier it will be to learn new music, and the sooner you will be able to work on more advanced music.
Some students choose to take a break from their lessons during the summer months or the holiday season. While it is good to take a day off once in a while and I encourage students to take a week off after a big recital, you will lose a lot of ground if you spend two or three months without any practicing or lessons. If you are really interested in making a lot of progress during a vacation from school, I am happy to work with you twice a week so you can improve even more quickly. I had two violin lessons a week for a summer when I was younger and two voice lessons a week for a few months during college, and it made a huge difference.
*** Studio Equipment ***
I teach in my home studio. I have an upright acoustic piano, a full-size violin which I use for demonstration, a music stand, and a mirror so voice and violin students can check their technique. I also have a comfortable couch where parents can observe their children's lessons.
*** Specialties ***
I teach violin, piano, and voice lessons. Please click "Read More" below for more information.
I teach my students about the anatomy of breathing and tone production, focusing on breath energy and a released sound. I use fixed-Do solfĂ¨ge to teach note-reading and develop the ear. I am careful to assign repertoire that is at my students' level, challenging them musically but not going beyond what is appropriate for their vocal development. This avoids tension and injury and inspires confidence as students study music that they are able to sing well.
I teach classical/opera and Broadway singing styles. I do not teach pop singing. I accept voice students ages fourteen and older. I encourage younger students interested in voice lessons to consider joining a choir and/or taking lessons on another instrument instead. In my professional opinion, the voice is not sufficiently developed before age fourteen and there is a greater risk of injury in private voice lessons. In a choir, children are directed to sing in a healthy way for their age and learn valuable musicianship and aural skills.
I do not accept male voice students. I do not feel that my understanding of the male voice is adequate to provide the level of instruction that I expect from myself. There are many female voice teachers who are comfortable teaching male students, and vice versa. TakeLessons can help you find the teacher who is perfect for you!
Beginning students work from the Alfred Premier Piano Course, later transitioning to the Pathways to Artistry series by my former teacher, Catherine Rollin. We work on developing a curved hand position with relaxed wrists and strong finger joints. I use technical exercises to teach artistic expression rather than teaching these two elements separately. Beginning students count and sing note-names out-loud to integrate theory and note-reading with their playing. I accept piano students ages five and older. I do not accept piano students younger than five because their hands are often too small to play comfortably.
My beginning students use the Suzuki Violin Method books and later transition to a series of Ă©tude books and repertoire selected depending on the student's level. I teach beginning students a modified version of the Suzuki method but incorporate note-reading and theory skills from the very beginning. I focus on a relaxed and natural hold of the violin and bow to avoid tension and technical problems that can lead to injury. Students who learn to hold their instruments correctly progress more quickly and are better able to express themselves artistically. I work with my students on development of their aural skills, concentrating on pitch accuracy and a sensitive ear. I accept violin students ages three and older pending an evaluation by myself and the student's parent of the student's maturity.
Music Performance, Music Theory, Opera Voice, Singing
Praised for her "rich dramatics" (The Boston Globe), soprano Pamela S. has earned a reputation for bringing passion, intelligence and style to every performance. Through an international singing career that has included everything from Baroque opera to working with some of some of today's most prominent composers, Pamela has performed with Yamaha Young Concert Artist Series, the Britten-Pears Young Artist Programme at Aldeburgh Music Festival, Operafestival di Roma, Yale School of Music's New Music, New Haven, the Baroque Orchestra of New Jersey, Left Bank Concert Society, Opera at Florham, American Opera Projects, and many others. In recent years, she appeared on a PBS documentary singing the music of Pulitzer Prize winning composer David Lang, and created the role of Julia Dehning in the world premier of the opera The Making of Americans at the Walker Art Center in Minneapolis. She received her Master's degree in vocal performance from The Peabody Conservatory of The Johns Hopkins University, where, upon graduation, she was awarded The Phyllis Bryn-Julson Prize for Commitment to and Performance of 20th and 21st Century Music.
Ms. S. currently serves on the Board of Directors of MATA, an organization dedicated to supporting young composers from around the world. She is in high demand as a voice teacher for competitive students and professional singers, and lectures on the social significance of music history topics related to contemporary repertoire.
Pamela has been teaching music and voice for more than ten years. Currently, she teaches voice and music theory at Rutgers University Mason Gross School of the Arts Extension Division for their Young Artist Program, and is on the voice faculty of the College of Saint Elizabeth in Morristown, NJ. Prior to these positions, she was an adjunct lecturer at City College of New York, CUNY where she taught music theory, musicianship, and composition. Additionally, she spent two years as the chair of the voice department at The College of Saint Elizabeth, where she has taught private vocal instruction, as well as lecture courses in music history, music theory, vocal pedagogy, and ear training.
Pamela's students have performed with Opera at Florham, the Baroque Orchestra of New Jersey, In Mid Air Productions, and many other companies around the East Coast. In 2011, two of her students competed and placed in the Assisi Performing Arts Festival vocal competition, winning scholarships to perform with the festival that summer in Assisi, Italy! In addition, Pamela has worked as a Teacher's Assistant at Columbia University's Department of Astronomy, for the class Theories of the Universe: From Babylon to the Big Bang.
Pamela also maintains a private studio of voice students, and is available to give lessons in a variety of locations. In the past, Pamela worked for Rider University as a private tutor for students in music theory, music history, and French. Pamela was active in the vocal pedagogy program at The Peabody Conservatory of Johns Hopkins University through which she taught voice lessons while earning her master's degree in vocal performance. Pamela has held substitute positions teaching voice and piano at Spotlight Music in Flemington, New Jersey and was on the roster of teachers at Bravissimo Music, a branch of Ivy Bound Test Prep.
*** Lesson Details ***
My teaching is goal oriented but always supportive and encouraging. Students can expect lessons to consist of vocal technique building and repertoire study. Lessons are very individually geared towards each student's unique needs and goals. Students who follow my instruction always see and hear results.
*** Travel Equipment ***
I expect the student to have a piano, or at least a high quality electric keyboard.
*** Specialties ***
classical voice, contemporary music performance
Born and raised in New Jersey, I have been involved with music for many years. The instruments that I play include Trumpet, French Horn, Handbells, Organ, Voice, and Piano. I received my formal education at Moravian College in Bethlehem, PA, which is where I earned a B.A. degree with Honors in Music. In order to obtain my Honors, I chose to develop elementary lessons on Chinese folk music. In my Junior year of college, I performed a dual media recital in both Voice and Piano, and for my Senior year recital, I focused on giving a Vocal performance. These recitals demonstrated the musical talent and techniques that I had developed throughout my experience at college. In addition to my musical experiences in college, I have also learned about various pedagogical approaches through both my vocal studies as well as my studies on the keyboard. There is always more than one approach to teaching musical concepts! As a musician, I have performed in both the Bethlehem/Allentown area and the central New Jersery area. In addition, I have sung as a member of the Princeton Pro Musica and sat as a member on the executive board of the Princeton Girlchoir. These experiences have enhanced my professional insight as a musical instructor today. At present, I am a teacher in the classroom, an organist at a local Presbyterian church, and a private piano instructor. Overall, I thoroughly enjoy seeing my students grow and develop as musicians.
*** Lesson Details ***
My instruction correlates with the age, the musical background, and the public/private school music curriculum of the student. Each lesson is a special musical vignette in the sense that it is a unique learning time for the student. It is important for the student to be motivated by the material that they are given and to have a full understanding of the concept(s) that were taught in the lesson. Above all other reasons, it is most important for the student to enjoy their piano lessons and want to come back the next week. Therefore, it is my job as the instructor to inspire them to practice and benefit from each and every lesson. Whether it be vocal or piano instruction, each lesson consists of fun warm-ups, interesting technical exercises, and repertoire of all sorts. What the student learns in 3-6 months depends upon the motivation of the student as well as my ability to teach what the student needs to know in order to achieve their goals as a pianist and/or vocalist. Regarding my methods of instructing piano students, I use the Middle C method for players of all levels. Those who are more advanced use triads as well. My overall goal as a teacher is to work with my students and give them the skills that are necessary to play music that they enjoy.
*** Studio Equipment ***
lessons in living room; 2 pianos (C2 Yamaha and Steinway upright); organ
*** Specialties ***
Middle C Piano Method using instructional materials of the Bastien's and Alfred Publications
"Steven is very professional and extremely helpful. He always has a smile on and is serious about helping you phrase the music. I would highly recommend him to anyone."
"It's been really exciting so far! Jordan has been so helpful, so knowledgeable. I could not have found a better instructor and I'm getting better and better every day."
"My daughter's wedding was weeks away and I had never been able to dance a step. With Jenny's help, I came further than ever before in such short time in any subject."