Chestnut Mountain Music Lessons

a lot of structure and others prefer a looser approach and I am quite comfortable teaching both ways. If the student maintains a consistent practice regimen, they should be able to play songs from the radio within 3 or 4 months.

*** Studio Equipment ***
Lessons in the living room with an amp, keyboard, computer, desk, parents can sit on couch in a separate room

*** Travel Equipment ***
I expect my student to provide their instrument (including amp if necessary) and any instructional materials required.

*** Specialties ***
I have had a lot of experience teaching beginning and intermediate students with method books, and have used them to teach reading, theory, technique, and repertoire. Most often, I take a slightly looser approach which I feel allows me to mold my teaching to fit the individual student's needs

like to be able to go online for some resources.

*** Travel Equipment ***
I regularly use the internet in lessons as well as standard published educational texts.

*** Specialties ***
I have been told that I am especially good at helping people make the jump from playing by rote to reading from the page. In vocal instruction, I am familiar with three schools of technique: the psycho-imagery school, the "anatomical" school, and the Italian "open throat" approach. My background in acting also contributes basic vocal projection techniques to vocal training. I am comfortable with all genres of music, including pop, rock, soul, R&B, gospel, jazz and opera. In instrumental studies, I am a woodwind doubler, reading fluently and transposing on-the-spot . As a jazz and gospel artist I improvise primarily on the flute and saxophone. My piano skills are equivalent to a second-year college piano major. I can improvise accompaniments as well as read piano scores. In addition to being a certified teacher in Georgia, I attained national certification through the National Board for Professional Teaching Standards in 2004.

ts work together, why we need to have a flexible wrist to play certain passages, why we push our elbows out to play some notes, why we use different weight transfer to the hands, why we don’t attack notes, why we rock our hands back and forth to play certain notes, why we round up the notes rather than pressing the keys down, as early as the students are able to comprehend.

Piano studying is not only about learning the notations but also expressions, interpretations, phrasing, structures, tonal relationships, mood, articulations, analysis, and etc. for intermediate and advanced piano students. I include some music history in association with the pieces the students are learning to play, besides the theory and structure of it. I would ask my students to find any patterns in the pieces and any differences between the same or similar passages. I often ask students to tell me what they can find throughout the pieces based on the knowledge they have and what they have acquired through the lessons. I ask them to listen while playing and train them to listen. When they make mistakes, they likely do notice the weirdness about them by listening the sound. I imitate HOW they play a passage and HOW I play it, and ask them what the differences are in terms of techniques and artistic interpretation. I explain how the students should practice and how they can tackle and isolate a problematic area. Competitive endeavors and striving for excellence are appreciated with pedagogic approaches.

It is important for me, as a piano instructor, to understand what purposes each student would like to achieve. Although striving for excellence is my personal goal and is what I would like my students to have, not every student takes piano lessons for the same purpose. Some students take piano lessons simply because they just enjoying the therapeutic quality of playing the piano. I am totally respecting that. Having said that, my approach of teaching varies, according to the needs of the students. I don't ever use a universal single method or approach to teach all. Some methods work better for some students but not others. That's why I use different method books to different students.

It always makes my day when I hear music pieces my students play with their hearts and enjoyment. It is my joy to see them grow and immerse in music and music studies.

*** Lesson Details ***
Various teaching methods for different individuals for sight-reading, ear-training, techniques, interpretation, performance, artistry.

*** Specialties ***
classical piano

w music thoroughly, not just to “play.” I desire my students to comprehend elements of the score, to use their bodies effectively to make good sound, and to interpret music creatively and according to historical performance practices across all genres of music. Thus, I give students a purposeful education in technique, quality literature, performance and artistry, music theory, and music history.

Although students differ in ability and development, I maintain high expectations for our students. I expect attention and respect in lessons, faithful and diligent practice, careful adherence to instructions, and an “I’ll-do-my-best” attitude. If students regularly meet these expectations, then they will excel to the level that they are able. It is my joy to help students master their music, to do the best they can, and to strive for and achieve excellence.

Lastly, I want students to enjoy and appreciate their instrument, music, and music-making; and I know as as a teacher, I am very influential in making this happen. Students develop enjoyment of music by understanding music, experiencing success in music, being exposed to good and varied genres of music, and receiving instruction from a teacher who is enthusiastic and encouraging. It is my goal to provide all of these opportunities for students, and as a result their lives will be enriched as they enjoy their instrument.

nything in between, depending on each person's needs. I have found that a positive attitude and a nurturing setting go furthest in helping people develop as singers. I have experience teaching both male and female voices, transgender voices, and almost all genres of music.

Professional Bio:

Hailed for her effortless high notes, warm timbre, and vocal agility, coloratura soprano Ashley A. is a versatile performer and advocate of early and contemporary music.
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In 2017/18, Ashley makes her European début singing the roles of Aricie in Rameau’s Aricie et Hyppolite and Diana in Cavalli’s La Calisto with Woodhouse Opera Festival in London. Upcoming engagements also include medieval repertoire with early music group Lauda Musicam, a presentation of Baroque music for the Historical Keyboard Society of North America, and two programs with Savannah Baroque: Love and Passion and Donne in Musica, the latter presenting music of female composers of the Baroque era. In the summer, she will return to the Savannah Voice Festival as a second year studio artist under the tutelage of Sherrill Milnes.
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In 2016, Ashley was in a featured soloist in Haydn’s Missa brevis Sancti Joannis de Deo, and prior to that she portrayed the role of Josephine in HMS Pinafore presented by Asbury Memorial Theatre. She was a featured soloist on a program of medieval Spanish repertoire with early music ensemble The Goliards, which she has collaborated with since 2010.
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Other past operatic performances include Ännchen in Der Freischütz, Barbarina, La Contessa and Susanna in Le Nozze di Figaro, Erste Dame, Pamina and Papagena in Die Zauberflöte, Fiordiligi in Così fan tutte, and Mabel in The Pirates of Penzance.

Ashley has pursued the study of voice, vocal pedagogy, acting, and Alexander Technique with teachers from around the country since 2008. Currently, she studies with Sharon Stephenson, Dr. William Lavonis, and Dr Ron Dennis. She resides in Atlanta, Georgia where she maintains a private studio in addition to her performance schedule.

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