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the distinguished Anne Adams Awards Harp Competition where she has been a main Director for fifteen years. She has served as the President of the Orange County Harp Society Chapter as well as a board member of the Bay Area Harp Society Chapter.

Alexandra received her Bachelor's Degree from DePauw University, majoring in Music and Anthropology. She also completed premedical studies at DePauw after spending her Junior year studying harp at the University of Oregon. She received her Master's Degree from Roosevelt University in Orchestral Studies, and did post graduate work at the University of Southern California in Harp Performance and Anthropology.

Alexandra's harp teachers have included: Sarah Bullen, Sally Maxwell, Edward Druzinsky, JoAnn Turovsky, Harriet Thompson Moore, Kara Bershad, Faye Seeman, Joy Andreasen, and Neva Lydiard. She has also had many mentors who have guided her life and career including: Kathleen Bride, Victor Salvi, Sally Maxwell, Patricia Masri- Fletcher, Robin Gordon- Cartier, Carrie Kourkoumelis, Dr. Craig Pare, and Karen Thielen.

Alexandra has performed in many master classes given by such internationally known harpists as Skaila Kanga, Jana Bouskova, Marie Pierre Langlamet, and Bryn Lewis. She has also organized many masterclasses and events featuring: Kathleen Bride, Sarah Bullen, Gwyneth Wentink, Patricia Masri - Fletcher, Louise Vickerman, Sivan Magen, Sasha Boldachev, Ina Zdorovetchi, Angel Padilla Crespo, Elzbieta Szmytt, Susan Allen, Gayle Levant, Stella Castelucci, Robin Gordon Cartier, Emmanuel Ceysson, Yolanda Kondonasis, and Kim Robertson.
 
Alexandra has performed extensively throughout North America and Europe as a soloist, with small ensembles, and as an orchestral harpist. She has appeared in several television shows such as General Hospital. Her playing,"Is filled with care, artistry, and mature interpretation. She is a talented musician, well rounded in her knowledge of music, and has a healthy curiosity in areas beyond music." (Donald Chen, conductor) "Everything I heard was sensitive, artistic, and had beautiful intonation." (Richard Ferrin, violist emeritus, Chicago Symphony Orchestra).

In addition to playing, Alexandra has also served as the Ambassador for Salvi Harps in North America for the past eleven years. She has given numerous masterclasses and workshops in addition to performing at National Harp Conferences and National and Regional music showcases. In her role as National Sales Manager, she helped harpists from all over the world find their dream harps, learn to care for them, and has mentored them along the way.

Apart from harp activities, Alexandra also enjoys teaching middle school, teaching piano, coaching rowing, participation in sports activities, and writing articles for various journals including: The American Harp Journal, Chicago Health Magazine, and Atlanta Health Magazine. She also enjoys being a board member on the DePauw University Alumni Board and she enjoys working on music startup companies.

*** Lesson Details ***

As a HARP teacher, all of my
students play scales, arpeggios, and technical exercises in
their lessons. I believe having a strong technical base is the foundation for
every part of playing and you can't learn without it. I will set the repertoire
for students according to their technical progress and although I may
take into consideration a student's desires to learn a certain piece, there has
to be time and they have to be ready for it. I have both short term and long
term goals for each student that involve theory, technical ability, and
repertoire: fun, orchestral and solo. Adult students still have to learn
technique, it makes things much more fun and easy six months later, I promise! Beginning students will learn how to read notes, understand basic theory, and technique in a short amount of time, so don't be scared if you have never had a music lesson before. 

I require all students make
at least half an hour a day commitment to practice. I teach mostly the Grandjany method of harp technique, however, I also use Salzedo and Renie methods
at times to fit a particular students' build and unique physical attributes as well as what the piece requires. I
have studied all techniques throughout my education and I find them all
beneficial for different reasons. I do, however, believe everyone is built
differently and the technique should help the harpist play and not hinder them
from achieving their goals. Everyone learns at a different speed, but as a
brand new musician, after six months practicing regularly, you should be able
to read music fluently, understand basic theory concepts, be able to play with
both hands and four fingers on each hand, play all of the basic scales and
arpeggios musically and be able to play at least one piece memorized.
Curriculum is based on the student's technical ability and issues and is
individually created – if you learn slower than someone else, don’t worry about
your pace. In the end, lessons are about you personally and not someone else.

As a PIANO teacher, I want students to learn about music and not just the piano. Students will learn basic music theory and basic scales as a part of their lessons. They will also occasionally choose a song of their choosing to work on chords. I do promote note reading and theory, so I am not the right teacher for students who don't want to invest time in learning the basics. These basics are the building blocks of all music and can be used for any instrument the student chooses to learn in the future.

*** Studio Equipment ***
I have harps and a piano at my studio, so you do not need to bring your harp to lessons. If you don't own a harp, you can rent one for around $45/month from several sources. 

*** Specialties ***
HARP - Grandjany Technique with an incorporation of Salzedo and French school depending on the player's body type and technical difficulties. I make use of the ABRSM as well as local, national, and international competitions depending on the student's level of commitment.

PIANO - I teach basic piano for fun through an Intermediate level. Although some students choose to take CM and ABRSM exams, I do not push them. I want students to enjoy piano and music lessons.

cademic competitions, and was awarded the Triangle Theatre Award for Best Actor in a Musical and the North Carolina State University’s Theatre Endowment Award for Best Male Lead.

Dan is an alum of Broadway Theatre Project and the San Francisco Gay Men’s Chorus. He has directed, music directed, choreographed and starred in several theatrical productions and benefit concerts across the country for a variety of national nonprofits. He dreams of owning his own nonprofit healing and performing arts center in San Francisco.

Hometown: Raleigh, NC
Lived in: New York, NY
Current City: San Francisco, CA

Quote: “Everything starts with the decision and passion to succeed. Let’s unleash your potential and share your gift with the world!”

Top 10 artists: Luciano Pavarotti, Eva Cassidy, Samuel Barber, Jennifer Hudson, Frederic Chopin, Whitney Houston, Jason Robert Brown, Heather Headley, Stephen Schwartz, Stephen Sondheim.

n also help business students with business law courses.

Contact me, and I'll design a tutoring plan that best suits your needs!

If you select me as a tutor, please contact me before scheduling a specific lesson date and time, if possible. It's easier for both of us to confirm times in advance!

kly progress reports, weekly listening to music for their instrument with evaluations, semester auditions, and recitals. I require students to video record each practice session so I can verify practice time as well as provide suggestions to maximize efficiency. I encourage involvement with outside music ensembles and we take field trips to watch professional musicians. Any student with enthusiasm is welcome in my studio!!

What do you enjoy about the work you do?
I love getting to know all different students and seeing them grow. I look long term for satisfaction with my job, it barely feels like work. I get to make music daily with really cool kids, what could be better than that?!

What is your typical process for working with a new student?
I start wherever the student is. We work on fundamentals regardless of ability, and I assess what level the student plays to make a decision on what materials we use.

How did you get started teaching?
I started teaching when I was in high school to help my band director out. I always wanted to be the type of teacher that was similar to my mentors; compassionate, hard working, enthusiastic, and patient. I began teaching professionally when I was in music college and continued to enjoy working with all types of students.

What types of students have you worked with?
I have worked with students as young as 6 and as old as 70. I work with special needs in any form. I work with students that practice really hard to attain a specific goal and others who are only trying to get better for band music.

What advice would you give a student looking to hire a teacher in your area of expertise?
Find someone who can thoroughly answer your questions and will also be flexible to meet your needs. Make sure the teacher still takes enrichment classes to keep current with research, their instrument, and to help develop better and newer ways of teaching.

I offer in-person and online lessons ranging from 45-90 minutes.

http://trumpetdojo.wixsite.com/trumpet

https://www.linkedin.com/in/sandra-laverty/

cessary information in order to create a lesson plan that will meet the student's specific needs. I have extensive experience in curriculum design. My approach to teaching is student-centered. I use a variety of methods to ensure that students are active participants in the learning process and get the most out of instruction.

I have worked with students with special needs including, learning disabled, ADHD and gifted and talented. When planning my lessons, I make sure that the activities included are appropriate for the student and use students feedback in future planning.