Churchton Music Lessons

zz, classical and rock.

is unique and individualized to each student. I set personalized goals to make every lesson a success, and I push my students to get the most out of themselves just like I do myself. I'm always enthusiastic and humor driven to create a personable learning environment for students of any age. Music is my life, and I'm so thrilled to have the opportunity to share my greatest passion with the hope that my students, too, will fall in love with music!

*** Lesson Details ***
My lesson environment is laid back and stress-free. I like my students to feel inspired and encouraged as they begin or continue their music education. I introduce fun and innovative ways to build students' musicianship and creativity while retaining classical methods to develop strong technique and proper performance and practice habits.

For beginners, we'll be exploring the basics of either piano, or voice, while focusing on proper technique, basic theory, and a solid skill set. Within 3-6 months, my students are able to read music and understand the language of it.

For intermediate-advanced, we'll focus on building musicianship and skill sets by furthering studies in music theory, varying styles of repertoire, proper techniques that will greatly improve your piano and/or voice abilities, songwriting, improvisation, and live performance skills.

I ask that my students come prepared to every lesson with the motivation and commitment to learn something new each week! Lessons are a fun and creative way to discover yourself as an artist and a person, so let's get started!!

*** Studio Equipment ***
Kawai CN25 Upright Electric Piano, 13" MacBook Pro and iPad mini (Apple), A-Audio Elite HD Headsphones, BeatsStudio Studio Headphones (beats by dr. dre) and G900DX Studio Headphones (Gear One).

lege years and beyond I served as a percussion instructor and assistant band director at Morgan State University. As part of the Morgan State University Magnificent Marching Machine I served as a instructional leader in music and performance mentor for the team. I taught part time as a percussion instructor at Milford Mill High School giving individual lessons for over 10 years.

Musical inspiration is an important element to the refinement of my craft. A few personal musical influences are Buddy Rich, Max Roach, Neil Peart (Rush), Dennis Chambers, (Santana), George Gray (Roberta Flack), Ricky Wellman (Miles Davis), Quinton Mack-Davis (Rare Essence) and Michael Bland (Prince).

*** Lesson Details ***
Within the first three months of lessons student will gain a strong foundation of sight reading and basic drum techniques in both rudiment studies and playing the drum set. My style of teaching music consist of breaking each skill down into chunks and allowing students to learn using their individual learning styles. I utilize rewards for perfect practice and each lesson contains a safe, fun learning atmosphere with students exhibiting in their best behavior.

*** Studio Equipment ***
Lessons in store front studio, drum kit provided

*** Travel Equipment ***
I will bring a practice pad. Students should have a drum set.

*** Specialties ***
Jazz, Funk, pop, and classical.

issues as well as integrating the body to fully support the voice.

She addresses vocal issues in a very practical and logical order by first identifying the primary source of the vocal issues and starting to work from there.

This is a simple, but crucial difference that is apparent in her approach. The very nature of secondary issues are that they are simply the extensions of the primary issues and therefore primary issues should really become the focus and starting point of the technical work.

It is from Christine’s experience and observation that she has concluded that secondary issues will always be dysfunctional (regardless of time and effort put into correcting them) as long as the primary issues have not been resolved. Oftentimes secondary issues will significantly self-correct on their own or can be approached reasonably once the primary source has been corrected.

This can only happen if the teacher knows this and is aware on how to approach the correct order in which to work and to address issues.

Making sense of primary versus secondary issues is absolutely fundamental to legitimately correcting problems successfully. Unfortunately it is often that the student is ultimately left to the enormous task of discovering this on their own, if ever and if they are lucky after years of study because the teacher is often focused on surface level issues, which are always easy to hear.

This is because most professionals are not versed in hearing such nuanced differences, nor capable to offer to work in such a refined manner.

The voice requires an execution of many things that must function together properly in order for it to work. Considering this makes it is easy to understand why the voice is viewed as the most complicated instrument to diagnose and teach. Therefore, it is absolutely important to invest in teachers who greatly have a handle on the voice and how to go about making sense of it.

She also specializes in teaching students process and development through highly mindful practices. She believes that in order for the voice to function optimally, the body, mind and emotional state of the singer must all be receptive and responsive in a positive way. This is because they are all inherently interconnected.

Christine teaches in a mindful manner to help students become more observant and aware of their own approach. By doing so we can realistically create the opportunity to arrive to better choices.

Christine’s extensive experience and knowledge in various styles and specialties in vocal intonation, along with her continuous education (over twenty years) and dedication to the authentic Italian traditions of bel canto and verismo opera has allowed for her to develop an approach that can extended into all legitimate styles of singing. Her personal approach to the voice is beyond comparison, nor can it be matched.

She has a phenomenal ear and can make rapid and highly accurate assessments of technical issues in a very brief sitting. Christine is exceptional at explaining vocal pedagogy and directing students on how to make corrections for themselves.

Christine is a dramatic soprano and is very confident and experienced with large instruments (that are more difficult to train for various reasons and require more specialized training). Having an extremely rare and large voice herself has given her invaluable insight toward fully understanding all other voice types and the discipline necessary to achieve efficient technique.

Many teachers can be limited in their view and teach "their technique" as opposed to helping the student develop their own technique and what works best for them. Christine has a great talent for figuring out what a students needs to do in their approach in order to achieve the results and keep the lessons progressive.

Developing proficient technique in a complete and effective way leads toward discovering the full capacity and beauty of our instrument without compromise. We need to find our voice to find ourselves as artist.

Her methods in vocal intonation translate directly and indirectly into all styles of legitimate singing, which she coaches many varying styles and will direct student toward appropriate repertoire. Students will learn the full potential of their instrument under her guidance. It is her belief that technique should always lead toward one sounding natural, no matter the style and that one fully learns their instrument’s capability to access endless artistic choices as a performer.

Christine offers very traditional based vocal lessons with a focus on improving technique through practical exercises and song repertoire designed for each student's unique vocal needs. She will offer necessary guidance and adjustments to ensure the student's continuous development.

Her goal is for her vocal students to discover their authentic voice and to find freedom in their technique and most importantly their expression as artists.

What you can expect to learn:

Vocal pedagogy and how the voice functions properly; how to effectively think about your voice to get the body to cooperate (aurally, physically, mentally, emotionally, etc.);

Integrating the body to fully support the voice Rebounding the body, which is at the core of support, but often times very apparently neglected because most trained singers/teachers from even the highest institutions do not understand how it works or do it effectively themselves. It is sadly becoming a lost art. This is the most advanced concept of singing and yet is absolutely necessary to master in order to access genuine support. Christine clearly demonstrates and explains how this concept functions and her refinement of it is by far not common knowledge.

Other concepts include sustaining an open throat, internal space for optimal resonances, legitimate dynamics directed from the body and compressed air, anchoring the body to maintain the larynx low;

Various placement techniques, air that can rebound using breath direction, centering the voice/cut internally by aligning the horizontal (mask) and vertical planes (chest, back of head, top of head and spine) support and placement that function together, developing a mixed middle sound that passes easily into low and high registers and broadens range; articulation that is aligned with vertical planes and naturally hooks up chest and top of head (releases in head) without forcing or placing, tongue, jaw and neck release, body posture that is conducive for support and keeps the body open and functional;

Various artistic and performance techniques, musical interpretation appropriate to context, time period and style, aligning the voice and body/acting to come across accurately in our portrayals and the process behind this, memorization techniques, execution of timing for expressive reasons and ways to think about timing that doesn’t conflict with the natural structure of a song, but allows for flexibility in phrasing, phrasal development and song development.

Piano:
Christine is also a highly sought out piano instructor for her ability to establish an exceptional foundation in beginning piano students and those who wish to continue their studies and build upon the fundamentals. She specializes in reading skills and excellent technique.

It is her belief that having a solid foundation sets the tone for determining if a student will continue with their studies and therefore this is the most vital part of a student's development and future progress.

She teaches Russian technique, which allows for flexibility, strength and tonal beauty of musical lines. This technique can be applied to all styles of playing piano such as pop, jazz and is not limited to just the classical repertoire.

Her goal is for all of her music students to become increasingly independent as musicians to where they feel confident to teach themselves and others and to ultimately find enjoyment in the process of learning music.

Her approach helps students advance their technique, reading proficiency, including music theory and expand their artistic capabilities.

Education and continuation of voice:

She received her music education in classical vocal performance from George Mason University and has vigiourously continued her studies in opera with Mrs. Fabiana Bravo, who studied with Luciano Pavarotti and Renata Scotto and has had a fabulous career singing at the Met. Christine specializes in Italian for classical rep.

General styles I coach:
Opera (bel canto and verismo) classical, sacred, hymnal, traditional, jazz, r&b, folk, and other variations of these popular styles.

Christine also has an international recording career as an adult contemporary artist.

Voice lessons begin at age 14-55 and piano at age 6-any age. Please no inquires about exceptions on age or travel, I will not respond. I teach from my home only, regardless of distance. I am worth waiting for and traveling to:)

What do I expect from students who are applying:

Those who are very hard working, motivated, passionate, dedicated, responsible, considerate, humble and serious about lessons and greatly improving as musicians should apply only regardless of aspirations as a hobby or professionally.

I strongly believe that music is a discipline and this is how it will be approached during lessons. This is a teacher-student effort. Taking responsibility for your part is a must. That means trying to the best of your abilities to put my advice and guidance into practice away from lessons is necessary to your improvement.

I am looking for potential long-term students who are willing and ready to work hard in a practical and realistic manner, regardless of age, learning needs or proficiency.

Singing is a long-term sustained process to develop that can absolutely not be rushed and I want students who understand this. I have very limited availability and I am only seeking serious students who have a positive, professional attitude and will value me as a teacher. You need not know anything about voice, just have a good work ethic and attitude :)

Thank you and looking forward to working together!

Warmly,
Christine Padua

Atelier Lyrique de Tourcoing - France)...

In addition to performance, Pierre-Olivier has also worked as a singing teacher at the Conservatory and the RKM rock school of Namur (Belgium). For about 8 years, he has been offering private singing lessons to students at different levels and designing individualized classes to help students achieve their objectives. He coached regularly professional and non-professional singing groups and choirs, including youth choirs. He has given different master classes in Belgium, France and Chile.

Pierre-Olivier has recently moved to Washington DC from Europe to look for new challenges and opportunities for improving his professional career.

I am an enthusiastic, fun, adaptive yet demanding teacher. In each lesson, I adapt my teaching method according to the special requests and levels of my students, as well as their expectations and the daily conditions. I usually work with each student to decide together which is the best repertory for his/her voice and plan together the learning program. I will create a stress-free and trust environment to help my student progress in his/her work. Together with the students, we will develop a strong technique but always with musicality!

For beginners, we will be mainly focusing on the basics of vocal techniques, e.g. relaxation, breath, voice correctness and stability and the interpretation of selected songs.

For intermediate and advanced students, we will mainly concentrate on musicianship and specific technical corrections related to their voices. I am opening to do interpretation only for people who prepare shows or auditions.

I accept students of any age and level, but students must have motivations… For young students, I try to communicate regularly with their parents to explain the work we have done in the class and the home work which could be interesting for the students to do. Singing lessons are a funny and creative way to discover the true artist that is hidden within each person, so let's get started!!

lp, and even chop rebuilds. I am familiar and have taught nearly all of the major pedagogical trumpet methods including Arban, Schlossberg, Stamp, Thompson, Franquin, Caruso, and of course, CIarke. I went through a major embouchure change in 2009 and have come from barely being able to play, to playing with professional groups and making a living as a trumpet player. I am proof that dedication and hard work do pay off and can result in a real career playing the trumpet, despite the odds.

As your teacher and guide, I will commit to seeing you succeed and provide you with the necessary tools to do so.

“…visionary and tireless trumpeter “ Edward Carroll

“Philippe is a person that sees no obstacle that cannot be overcome. In fact, he sees that obstacle as a play-toy to invent and to discover new innovations with creativity and aplomb.” Russell DeVuyst, former associate principal Montreal Symphony.

“Virtuosity was decidedly the order of the evening. . . .P. T. Barnum probably would have said that the ability to bear witness to such a breadth of skills would have made last night’s concert worth the price of admission. On the whole, I suspect I would have agreed with him.”
Stephen Smoliar, SF Classical Music Examiner