Annapolis, MD Music Performance Lessons

ended techniques on the flute, while also providing a solid foundation in technique, tone production and interpretation.

to sing in Little Shop of Horrors and to sing with a women's choir. While studying at the University of Colorado Boulder I began to come into my own and started to let my large sound free. (Which for me was a process. Getting your voice where you want it and to where it is capable is work. But, it is fun work and you're always happy when you have these great moments where you get to where you were hoping you could and that your teacher said you would go at some point.) It was there, at CU Boulder that I got the opportunity to start singing in operas. While in Boulder I sang in The Magic Flute, Sarah McKinnon and as a soloist or recitalist.

Also, while there I worked as an actress in a theater company called the Interactive Theater Project for three years. I thought that by getting involved in that that I would be able to act more effectively while singing. It was fun just doing something where you're just working with the spoken word. I had a wonderful time with them and learned a lot about character work and what it takes to connect to the words in an effective way.

In the past few years, I have been a soloist and recitalist in the Washington,DC area and has sang opera in Pennsylvania with Center Stage Opera. Last year, I sang with Center Stage Opera in the role of Bertha. I had the opportunity to sing and to act at the Kennedy Center a few years ago. Also during that time, I
sang in Aleko, the Die Zauberflöte as the Queen of the Night, Serena in Porgy and Bess, and
sang in Ragtime and sang the role of the Wardrobe in Beauty and the Beast.

I am currently working as a soloist, a children's choir director, a chorus member and preparing for a recital and auditions in October. I look forward to what the rest of the year will bring.

*** Lesson Details ***
If you're a beginner, I will help you to understand what you need to get through the vocal line with breath and intonation. We will begin by doing vocal exercises and learn a lot about breathing for singing. I want to help you to make more beautiful tones. I will also slowly begin teaching you how to read sheet music and to help you be a more effective listener when it comes to music. I can also help you to become a better communicator as a singer.

For acting, I will help you to learn how to develop characters and bring the writer's words to life. We will begin by seeing what sort of subjects or genres interest you and what you are doing with those words now, and how you can delve deeper into making the world of the characters something more flushed out.

*** Studio Equipment ***
Inside my home studio I have: music, a music stand, chairs, WiFi, a computer, a laptop, a keyboard, a microphone, a metronome, a microphone, an amp/large speaker, and a sofa.

*** Specialties ***
For voice I would say that my focus is on classical voice. I also sing jazz, gospel and musical theater. For acting I have done both improvisational and regular scripted plays.

I have not taught students with special needs, but as someone with a twin sister with special needs, I am open to teaching students with special needs.

Will provide sheet music and exercises. My students should have a working instrument as well as any method book or sheet music we are working on.

*** Specialties ***
I teach all styles and genres

and as a teacher, I understand that every student is a little bit different. Every student has different strengths and weaknesses. Every student has a different learning style. Every student has a different way of understanding things, a different way of processing information, and a different personality all together. It will be my job as a teacher to get to know each student individually and use my teaching methods to teach the student how to play the violin and help him or her to reach his or her goals.

*** Lesson Details ***
I am a laid-back person. I am easy-going, enthusiastic about violin playing and about teaching and learning music, and I am very patient with my students as well. However, I am also very demanding. I explain and demonstrate objectives in a very precise way, and I demand a lot of detailed work from my students, inside and outside the lesson. I explain specifically what I want the student to do. By the end of every lesson, the student will have specific things to work on for next time. I expect each student to make practicing a habit, and practice regularly what has been discussed in the lesson. I try to make the lessons as pleasant and as laid-back as possible. But I become more firm, serious, and strict when a student either is not making an effort or does not practice enough outside the lesson.
I start students off with the Suzuki method. We work on techniques to hold the violin properly, hold the bow properly, and get a decent sound out of the violin, without too much physical tension. A student begins by learning to play by ear. After he or she is comfortable playing by ear, we associate the notes that the student hears and plays on the violin with written notes on a page.
We also work with the Paul Roland methods so that the student can learn the violin in a basic, rudimentary way. It involves a lot of repetitive patterns, back and forth motions that are slow and round, and avoiding excessive tension. This will give the student the tools that he or she needs to learn how to play the violin in a short period of time.
In three to six months, a student who is a beginner will be able to hold the violin and bow comfortably, create a decent sound on the violin, and play the Twinkle Variations, and maybe a few other songs.
If the student has played violin before, then in three to six months, he or she will have had some rehabilitation to get rid of tension and force, overcome some bad habits he or she may have developed, and review the fundamentals of violin playing. I will improve the student's approach to the violin, and by the end of the three to six months, he or she will have a better idea on how to practice and play the violin.

*** Studio Equipment ***
Piano, seating for parents in the living room,

*** Travel Equipment ***
I will provide a stand.
I will expect the student to have a violin, rosin, and a pencil.

*** Specialties ***
Suzuki Method- a starting point, particularly for kids, but for people of all ages. It is a good way to begin learning the violin by playing by ear, developing a strong, clear tone, and bringing out one's individuality through his/her musical development and his/her ability to be expressive.

In a matter of time, I want the student to get used to reading music, in addition to playing by ear. This can be done through the pieces in the Suzuki method or through other music.

Eventually, I take the student off of the Suzuki method and work with him or her on classical repertoire.

udent to come prepared to each lesson with an open mind and willingness to work. With music, the best results only come to those who put in 100% both during lessons and during individual practice time. This is key in any musical pursuit. Overall, I want lessons to be enjoyable while still maintaining a sense of progress for the student.

About Chelsea:
Soprano, Chelsea B. made her operatic debut in 2005 in Italy with Operafestival di Roma in their main stage production of Mozart's Le nozze di Figaro. While in Rome Chelsea B. also was featured in Pergolesi's Stabat Mater. She has also been involved in other concert and oratorio works such as Villa-Lobos's Bachianas Brasileiras No.5, Rutter's Requiem, and Mozart's Requiem.

Along with her classical training she has performed in many musicals such as The King and Guys and Dolls, Oklahoma, and œThe Boyfriend. Chelsea B. is an honored NATS (National Association for the Teachers of Singing) competitor, Peabody Scholarship recipient, and Bland Music Scholarship recipient. Recently, Chelsea B. worked with the Richmond Philharmonic Orchestra on their spring and summer concert series. When she's not singing, you may find Chelsea B. enjoying a run through the neighborhood, or enjoying some time with her cat CJ.

Chelsea B. holds both undergraduate and graduate degrees form the Peabody Conservatory of Music of the Johns Hopkins University.

*** Studio Equipment ***
Family Room: seating for parents
Studio space with piano, recording equipment, and parent seating available.
**PLEASE NOTE I have a cat in the home**
*** Specialties ***
Voice and Piano Lessons
Classical, Musical Theater, Pop, Jazz, Soul, and Country.

wed by my teaching methods:

My teaching methods fall into these four categories: (D.A.D.E.)
• Discovery- Gathering relevant and resourceful information of voice functionality.
• Application- Putting technical skills to use and knowledge of when to use them.
• Development- Process learning- Changes cause/effects and as a result, progress, production, and promise. “Trust the process.”
• Execute- To bring forth, carry out, and perform!

Process teaching and learning is a specific teaching style that not only empowers the students to feel confident about their craft, it also gives the students useful skills that can be applied to REAL "time-life" scenarios. This reinforcement confirms that the students have indeed learned what they've hired me for and more.

By signing up for voice lessons with Jackson, you will become a V.I.P. member. What is a VIP member? V.I.P. members have the inside opportunities to learn “singer secrets!” (Vowels, Interpretations and Pept-talk).
• Vowels- Two different approaches: Spoken and Sung
• Interpretation- A stylistic approach that best explains or makes sense of. Your explanation for your creativeness.
• P.E.P.T.-Talk (Details in your lesson)

Note:
1. The most important thing for singers/musicians/language students is that they train their ears. Why? Because 90% of what you'll learn is by what you recall from hearing/listening.
2. ENVIRONMENT- is key to your learning. It's important for you to surround yourself around the very things that you're learning.

Once you sign up, you’ll receive a questionnaire. The information you provide is vital because it shapes and designs your learning curriculum.

Bio: From Oklahoma City, Oklahoma (Born October 15th, 1974) is an American singer, songwriter, arranger, and producer. Notable instruments are the piano and percussion. Jackson is one of Washington, DC’s prominent male vocalists. His voice is recognized as; beautiful light lyrical-pure tone, fine diction, long phrasing and an extended high range. He is also known for his work within the concert/recital repertoires around the Washington, DC Metropolitan areas and performances with the Symphonic Orchestra of Northern Virginia, Jeff Dokken, conductor.

Jackson credits himself as a Pop Inspirational singer. “Music to touch, move, and inspire.”- Jackson C.
Jackson has experience working with youth and adults in churches, and privately. He has taught music and accompanied the production "KIDS" at the Kelsie Collie Children's Musical Experience.
His music education studies hail from; University of the District of Columbia,- Washington, DC, Oberlin Conservatory under Richard Miller,- Oberlin, OH, and Shenandoah University Conservatory under Dr. Kathryn Green,- Winchester, VA with an emphasis in Voice Pedagogy (CCM) Contemporary Commercial Music. His professional music career began (Spring 2009) in the Washington, DC Metropolitan area. Jackson is fortunate to have had a career built on “word of mouth” via his fans and supporters. Often, he is called upon to sing for; weddings, funerals, private parties, churches, recitals etc. Words and phrases that best describe Jackson's vocal performances are: (G.R.I.P.) Graceful, Refreshing, Inspiring, and Powerful.

*** Specialties ***
Pop, Inspirational, Gospel, Rhythm & Blues (R&B), Classical, Contemporary Jazz, some musical theater.

"Trust the process! Everything in life began and ends with a process."- B. Jackson Caesar

Languages: (English & Spanish)
My interest in the Hispanic language, its apparatus, style/approach, and culture as it pertains to the ever growing population and bilingualism around the Americas. My desire is to engage the students in the discovery and appreciation of the lingual- romantic tongues.

Spanish:
Countries visited; Mexico and Peru.
I can guarantee that within a few months you'll feel confident and sure that you're conversation- ready to Speak Spanish. Therefore, if you're preparing a trip to a Spanish speaking country, you’ll find Peruvian Castellano pronunciation straightforward and as good as any other, with few of the dropped letters or peculiarities found in some other countries.

English (As a second language)
I enjoy helping others learn the complexities of the English language. English is indeed a hard tongue to grasp however; it’s not difficult once you understand its secrets. (Phonetic learning)

Acting Coach: I advocate a dynamic variety of approaches to your learning styles and trends. My interest is in the study of voice production; functionality, style/approach, health, and stage presence and thus, my students are empowered with useful tools to reach their goals, confront and overcome common oppositions.

Public Speaking: Like that of the other subjects, my primary focus is to give you fundamental skills of interpretation. There are seven interpretation techniques that are used to empower and influence not only the speaker, but even your audience. The seven interpretative techniques can be applied to these six types of speeches: Narrative, Descriptive, Expository, Persuasive, Informative, and Social groups. You will also learn stage presence, and effective leadership skills. By the end of this course, you’ll not only have the confidence, you’ll have the command and compassion to lead.

y and excitement into each lesson as possible. Even if there are no signs of progress, the most important thing is to encourage the student because getting better at your instrument is exponential and will usually start off sluggish.

My first steps into getting to know the student better is to begin with having them choose a style of music that they like and play along with some of their favorite artists, in order for them to loosen up and get excited for learning. When I feel the student is fully comfortable and ready to begin our learning process, I will also have them play along with a style more complex, or out of their comfort zone, if you will. This establishes a sub conscious goal that they will want to reach every time they pick up their instrument which result in long-term commitment, respect and understanding of music.

*** Lesson Details ***
Before taking lessons with me, there are only 2 things you need to know:

.You are REQUIRED to express your creative side with 100% honesty, there will be no holding back in creativity in my classroom!

.Keep in my that though we want you to be as open as possible, I will often have strict guidelines for the benefit of your musicianship. It may seem like I may push you sometimes and it may seem to get boring and pointless.. but your musicianship will improvement exponentially with each lesson!

*** Studio Equipment ***
Drums/Percussion:

.Roland TD-9 Electronic Drumset
.DW-4 piece Acoustic Drumset
.Pearl 6 piece Acoustic Drumset
.Bongos
.Remo Roto Toms

Audio Production:

.General DAW's (Audio Software)
.Komplete 8 Ultimate
.M-Audio M-Box Interface
.Ibanez Electric Guitar
.2 Acoustic Guitars
.Midi Controller/Interface
.Baby Blue Bottle Microphone
.2 KRK 6's Studio Monitors

w/ sound proof insulated room to amplify the clearest sound possible.

*** Specialties ***
My drumming personality derives from Funk, Jazz, Hip Hop, Metal, Rock, Electronic and Pop. I have extensive live performance experience in such genres.

She was awarded a scholarship to attend Berklee College of Music in Boston, MA, where she received a dual Bachelor of Music degree in Music Therapy and Vocal Performance (Class of 2003). It was through her service as a music therapist, Millieu (residential) counselor and music teacher in the Boston City Public Schools/Greater Boston Metropolitan Area, that she began to feel the call toward a greater understanding of the gravity and role of the socio-emotional needs of students (and their families/villages) in urban settings. This call brought her to Baltimore, MD where she enrolled in the Pastoral Counseling Masters of Science program at Loyola University. In addition to her studies, she currently teaches Elementary and Middle School choir/ Musicianship teacher in the Baltimore City Public Schools through the Baltimore Symphony Orchestra's OrchKids Program. She also serves as Minister Of Music and Arts at two local churches.