East Brunswick, NJ Music Performance Lessons

and confidence to achieve their goals. I empathize deeply with the challenges students may face when pursuing a life in the creative and performing arts, having worked professionally in those areas for most of my adult life. I believe it is the teacher's job to respect each student's individual process of learning.
My students have gone on to become recording artists, Broadway performers, movie actors, Blues and cabaret artists, and published writers.

*** Lesson Details ***
Voice
I am an empathetic teacher, sensitive to the student's individual process of learning. My singing lessons usually start with breathing and relaxation exercises. Vocal technique exercises come next. When the student is fully warmed up, we will begin to work on songs. It is important that students be a part of the process of picking material since the more personally they respond to the material the more apt they are to become engaged in their lessons. After three to six months beginning students will have gained an understanding of the fundamentals of breathing, relaxation, and basic performance skills. With more advanced students the focus will be on range extension and the on-going development of vocal style through song interpretation and performance related exercises.
Acting
As an acting teacher and coach, I tailor my classes to the needs of each student. I utilize improvisatory and sensory techniques to help unleash spontaneity. I also encourage the students to use their personal experiences as a way to access a full range of emotions. I enjoy working with the student on script analysis, so as to discover the underlying motivations of the character the student is working on.
Creative and Lyric Writing
I use prompts as a way to get the student writing. Often, I will ask the student to write for stretches of time without editing themselves. It is important to unleash imagination before beginning the process of editing. Many times it is the unexpected that is the most compelling.

*** Studio Equipment ***
home- 10 minutes away from Manhattan with piano, seating for parents
-practice studio seating for parents

*** Travel Equipment ***
I provide a piano, cd/mp3 player and an large library of songbooks to work from. The student should bring sheet music of songs they want to work on and a recording device.

*** Specialties ***
I specialize in teaching how to sing rock, pop, musical theater, jazz, cabaret, and blues without hurting the voice as well as method acting instruction.

to sing well, its another skill to express authentically through your voice. I cater my lessons to each of my students and approach singing holistically.

*** Specialties ***
Musical Theatre, Classical, R&B, Pop, Jazz.

s well. I try to show students that learning music is a lifelong pursuit that can provide all types of fun and personal fulfillment, in addition to being a potential career and social outlet. After 3-6 months, the student will be playing songs, good ones, not just scales. They will also have learned basics, such as chords and scales, as well as sight reading.

*** Studio Equipment ***
Basement converted into music studio with instruments, and piano and keyboard. Parents can sit in on lessons. Street parking available.

*** Travel Equipment ***
I provide all lesson materials, listening examples, and, on occassion, an instrument. I often use my laptop to play songs and tutorials for students (who don't buy records like we did in the old days.) Generally, students must provide instrument.

*** Specialties ***
I tailor my lessons based on three factors: a student's interests, their ability, and their amount of practice time. I do not use a cookie cutter method of teaching because each student is different. I have studied, formally and informally, rock, pop, blues, jazz and classical. My specialties are rock and blues. On occasion, I will use method books, such as the Schirmer books for piano, but only if the student clearly seems to benefiting from them.

ic obviously requires preparation outside of lessons, I consciously avoid asking students to practice. Instead, I incorporate the music and styles that appeal most to the student and use them as vehicles for teaching concepts.

I strive to make learning music fun, regardless of age, style, and ability. I organize an annual recital to showcase my students' talents and hard work.

*** Travel Equipment ***
I will provide all music and instructional materials, and ask that students provide a clean, quiet area to hold our lesson, ideally with a music stand. I also ask that a student provide their own instrument. If providing an instrument is not possible, I ask that the student notify me so I can provide an instrument for them in the interim.

*** Specialties ***
I specialize in a wide range of styles on the acoustic and electric guitar, piano, ukulele, and bass.

I explain music theory in a fun, clear, and articulate manner and show its benefits and application in song writing, learning music, and playing by ear. My extensive background in rock, classical, pop, folk, and jazz allows for a truly cater my instruction to my student's tastes.

I make it my mission to structure my lessons on my student's goals and interests and avoid imposing concepts that don't interest my students.

sity where I continued my piano lessons as a student in the School of Engineering and Applied Sciences.  Wishing to fully commit myself to music through the piano, I transferred to Manhattan School of Music in September 2002. There, I studied classical piano performance with Donn-Alexander Feder (interesting name, no?) and Arkady Aronov. 

I have taught beginner and intermediate level private piano lessons to adults and children since January 2009.  Throughout January 2010, I accompanied a student production of the musical _You're A Good Man, Charlie Brown_ at The Women's Leadership School of Astoria, Queens.   In May of that year, I worked with Jermaine Lewis on a concert of his musical, _Spiritual Heritage_, staged at Mt. Hermon Baptist Church, Bronx.  These collaborations developed my feel for popular music (including improvisation,) which I enjoy conveying to students who prefer to learn piano through that style.  My appreciation of contemporary music has also benefited through my activities as music transcriber (someone who notates music on paper or computer by ear) for the lead singer of 3D2, a contemporary pop group that has performed at Madison Square Garden as well as international venues. 

*** Lesson Details ***
I adapt my teaching to how you learn and your aspirations, whether the direct goal is to delve into the world of piano playing, an art that nurtures emotional awareness and self-discipline, channel your favorite artists from the keys, or learn to listen inwardly - to your own music. I am a patient teacher who believes that you can succeed when the instructor is passionate about the subject (I am!) New musical and technical concepts are best introduced when you are ready to understand them.  Moreover, music and technique are two integrated aspects of the same picture - even when practicing a passage to develop efficiency of the physical gesture required, music is still being created!

Once I have gauged the development of your playing (from absolute beginner to anything beyond,) we would work on pieces and techniques that gradually take you to the next "stage of development."  I use quotation marks because musical growth is really a continuous process with no actual discreet stages. "Level" is merely an idea that helps teachers hone the content and delivery of their instruction.  In addition, I am flexible when it comes to following the sequence of pieces in repertoire guides.  In the order they appear, they don't always support the student's growth.  Lessons include theory concepts as a way to aid your aural understanding.  I can locate pieces of your choosing, and, if helpful, teach them in a more manageable (but still musically interesting) format.  Learning preferred music by ear is also a possibility.

I encourage regular practicing each week, while helping you strive for a balance between reviewing what was covered from one lesson to the next and your other important commitments.  In this manner, I hope to respect both the lesson time and you as a whole person.

*** Studio Equipment ***

*** Travel Equipment ***
I would provide music lesson books, other sheet music, recommendations for sheet music purchase. I would expect my student to provide a piano or digital keyboard with touch-induced volume control.

*** Specialties ***
I am actively experienced guiding beginner level to late intermediate students. I will guide you through the most sensible steps (for you) to cultivate agility at the piano, your ear and its discerning power, and unblocked musical expression. Connecting to your passion is one of the keys to a healthy and low-pressure learning experience. Our educational system would be better off if more practitioners of the art of teaching knew how to respond to the way our brains and minds learn naturally and efficiently - not by negative stress, like anxiety over the quality of a result, but through kind encouragement, patience, and the opportunity for open communication between student and teacher.

In teaching and performance, I have absorbed styles from classical, popular, and Broadway music. A vast repertoire is available for students at various places in their development. My interest in improvisation, and an ear sensitive to nuance have enhanced my feel for pop styles. I love music with a message that begs to be encountered, uplifting or not so uplifting - as long as it expresses anything essential from the heart of our common humanity. My experience as a teacher and pianist has shown me the scope of music that fits this description, covering at least jazz, classical, contemporary pop, r&b, and world music. For example, a current student worked with me on _Sweet Dreams_ by Beyonce, and _Together Again_ by Jackson, both which imparted looseness and rhythmic discernment to his playing. I've alternated our exploration of Top-40 songs with Bach 4-part chorales, which build his sense of fingering and harmonic motion.

ic Hall and recently the Academy Awards. She also enjoys working with beginners and those who want to explore their vocal potential for their own enjoyment.

As a performer herself, Rebecca’s career as an Operatic Soprano as well as a performer of Musical Theatre, New Works and Spiritual Music has taken her all over the United States, Europe and the Middle East. Favorite credits include Rosalinda (Die Fledermaus), Nedda (I Pagliacci), Micaëla (La Tragedie de Carmen) and a world premiere reading of Billy Blythe, a folk opera about the early years of Bill Clinton.

Rebecca’s knowledge of the music business, experience as a performer, and technical, supportive teaching method make her a sought-after voice teacher for students of all levels, backgrounds and vocal styles.

"My TEACHING PHILOSOPHY leads me to work with each student individually to help them find a tailored technique that works for them. No two voices are exactly alike, therefore I believe that there is not one rigid method that works for everyone. My ultimate goal is to help my students find their own unique sound, free of tension and full of confidence. Every student who comes to me started singing for a reason — because it felt good. And it should always feel good, restorative, and empowering!

In lessons I aim to keep this positive energy at the forefront and focus on making singing easier. My students and I work together to eliminate unnecessary effort and complications — those things that take away from the enjoyment that comes from singing. I take a healthy, classical vocal approach to encourage freedom, ease and power in the voice. As a student of such methods as Bel Canto, Alexander Technique and Yoga, I incorporate a full body approach to singing. I also encourage my students to find ways of improving their voices and the use of their bodies in all aspects of their lives, both in and outside the studio. In today’s busy world (and especially here in New York City) maximizing time, while learning to take a beat and focus, is a huge part of vocal technique. The voice reflects what is going on in the mind and body. In addition to their vocal work, I encourage all my students to spend time doing things that keep them happy and feeling good. Yoga, running, dancing, attending that concert or play — these activities help keep us in balance.

In my work with children and teenagers, I take special care to nurture their developing voices, encourage strong practice habits and sing with joy every day. Depending on their level of skill and their individual goals, we incorporate musicianship and music theory into technical work so that each student has the practical skills to pursue music in their life however they choose.

Whether it is nailing that next key audition or speaking with more confidence at your next big board meeting, I look forward to working with you to give you the tools, training and support to succeed!

See you in the studio! —Rebecca"

which encompasses the vocal onset and the closure of the vocal folds. Students realize that proper breath management and producing tone go hand in hand. The ideal that the student and I work towards is a balance between superfluous air flow and and pressed pressure. This concept leads to a clean onset in which the edges of the vocal folds cleanly come together and stay closed during singing.

Students also learn how to negotiate and coordinate the vocal registers. This means that every student who walks into my studio learns where and what the larynx is. It is my job to be a second set of ears to help the student optimize his or her tone quality by maximizing vocal resonance. This concept may be different across genres, however every student learns how to begin coordinating the vocal process.

HOW I TEACH
My aim as a teacher of voice is to be flexible and innovative, and provide students with a clear and honest assessment. I strive to explain to each singer exactly how to complete a task, whether maintaining the position of inhalation or correcting posture. In lessons, I refrain from being demonstrative so that the student can find his or her own unique sound without attempting to copy my sound. I use this method so that the student learns how to be her own teacher. This way, the student will be able to identify and correct her own vocal problems. When I am not present, the student will have confidence in her skills and can make educated corrections in practice, rehearsals, and in performances.

TECHNIQUE
Throughout the course of lessons, it is my job to identify the most effective resonating space for the student and give her the skills to maintain that space. It is through the combination of effective breath management using appoggio and flow-phonation that the student becomes most efficient. Finding the most efficient technique for the student involves discovering the proper laryngeal position for the student’s voice type and by practicing continuity through all of the registers.

As all of the aspects of technique are being built in the studio, it is my job to ensure that I am building a musician. This means that I go over how the student needs to learn a piece and how to perform a piece. Often times with young students, they do not have the musical skills to teach themselves the pieces assigned. Sometimes the voice teacher’s job is to “plunk out the notes.” I highly encourage my students to take piano lessons and to use technology resources to aid them in building musicianship so they feel confident reading music. This process takes time, but it is the first step in building a competent performer.

MY GOALS
I always cater to the students tastes while still meeting requirements, if any. I believe that this fosters joy and excitement in music. My goal as a voice teacher not only involves building a good singer, but creating a performer. I make sure that I not only find performing opportunities for my students, but also I create them. Every semester I hold a studio recital for my students to perform their repertoire in front of an audience. In the Fall of 2015 I founded a local opera company in order to bring classical music to the community. My students made up the chorus of Handel’s Messiah that we performed that December. In addition, I have invited my students to participate in the church choir I direct every week. I believe that learning how to sing must take place in the studio, but the most important thing that I can do as a teacher is to make sure that the student knows how to transfer the skills learned in the classroom to real-world performing experiences.

APPROACH
I believe in a holistic approach to teaching, which involves connection to the text and acting. Though I cover many of these aspects in the studio, it is extremely beneficial for students to go outside of the studio and engage in physical courses such as yoga, Alexander technique, acting and dance. I personally engage in these activities to relate to my students and to be able to explain how we need to engage the body in singing. I also encourage my students to have coachings with other professionals to gain more insight into their repertoire.

Not every student who comes to my studio wants to sing opera. Many students want to sing in choir, in church, or just for fun. Overall, I always come from a place of acceptance and non judgement. Every voice is unique and I strive to help my students not only reach their goals, but surpass them.

San Francisco Bay Area native, Dr. Melissa McCann has been teaching voice and piano since 2010. Not only an avid teacher, Dr. McCann has performed in music festivals all over the world including The American Institute of Musical Studies in Graz, Austria, Accademia Europa dell’Opera in Lucca, Italy, Angel Vocal Art in Los Angeles, CA, Russian Opera Workshop in Philadelphia, PA, and Highlands Opera Studio in Haliburton, Ontario. Melissa has also performed with companies including Opera San Jose, The Napa Valley Music Association, The San Francisco Youth Chamber Orchestra, Opera on the Spot, and The Solano Chamber Society.
Melissa earned her Doctorate of Musical Arts in Vocal Performance, Pedagogy, and Literature from James Madison University in Harrisonburg, VA with Kevin McMillan. During her time in Harrisonburg, Melissa founded Harrisonburg Opera Theatre and was the church choir director at Sunnyside Retirement Community Meredith Chapel.
Dr. McCann completed her Post-Graduate Artist Diploma in Voice at the San Francisco Conservatory of Music under the tutelage of acclaimed opera singer, Deborah Voigt. While in San Francisco, Melissa interned in the Education Department of San Francisco Opera and taught Kindergarten and First grade music with the San Francisco Conservatory in the Schools mentor-ship program. She also received a full scholarship to attend the Rubin Institute for Music Criticism.

Melissa earned her Masters of Fine Arts in Vocal Performance from the University of California, Irvine at the Claire Trevor School of the Arts where she sang the National Anthem for President Barack Obama at the school’s 50thAnniversary Celebration. At UC Irvine, Dr. McCann received critical acclaim for her portrayal of Euridice in Gluck's Orfeo ed Euridice, and as the Soprano in Pergolesi's Stabat Mater.

Melissa specializes in the Alfred Series for piano and My First Piano Adventure for young students. This approach focuses on ear training and reading music. Custom exercises and choice of material is based on the student's level and field of study. Lessons are scheduled at the student's convenience as per availability. Frequency and length of lessons is based on the students needs.

Young voice students are taught general concepts, music theory, and ear training. After the voice is more mature, advanced and serious vocal study can be pursued. Melissa's students receive a well-rounded training in the style of their choice: Classical, Popular, Musical Theatre, and Jazz.

Melissa emphasizes on solid technique, posture, breathing, and control, in addition to music fundamentals.

14, David independently released Progress Report, his first full-length album as a leader and composer. This project debuts intriguing, all-original music, and David is joined by some of the finest young musicians in Boston and New York. Upon moving to New York Ctiy, Neves attended the Juilliard School where he earned his Artist Diploma in Jazz Studies under the direction of Wynton Marsalis, Greg Gisbert, and Ben Wolfe. Now a member of the Grammy award-winning Afro Latin Jazz Orchestra with Arturo O’Farrill, Neves can be seen performing around New York City including a weekly residency at the world famous Birdland.

Teaching Philosophy
Improve technique and musicality through engaging and informative methods.
Focus on areas of improvement, as well as strengths.
Develop discipline and a sense of creativity within student, and give expressive opportunities.
Lessons will include information on trumpet history, music theory, jazz improvisation, and musicianship.

Teaching Experience
Afro Latin Jazz Academy of Music Teaching Artist New York, NY
May 2018 to Present
Teaching artist teaching private trumpet instruction under the direction of the ALJAM. Created unique exercises based on each students interests and needs. Topics included trumpet calisthenics, jazz theory, repertoire instruction, improvisation.

Neves Private Trumpet Studio New York, NY
September 2014 to Present
Private instruction. Created unique exercises based on each students learning challenges/needs. Topics included trumpet technique, improvisation, musicianship, classical and jazz theory. From ages 10-40.

Resident Trumpet Instructor Little Red School House, NYC
September 2016 to December 2016
Private trumpet instruction. Created unique exercises based on each students learning challenges/needs. Topics included trumpet technique, improvisation, musicianship, classical and jazz theory. From ages 14-15.

Trumpet Instructor Music To Your Home, NYC
November 2015 to present
Private lessons in students homes. Developed lesson plans for each student, and assessed progress during weekly lessons. Topics included trumpet technique, improvisation, musicianship. From ages 10-18.

Juilliard Jazz Workshop Faculty Torino Jazz Festival, Italy
April 2016
Featured artist and faculty at 2016 Torino Jazz Festival. Conducted trumpet/improvisation masterclass. Taught advanced ensemble (featured at the final day of festival). Topics included trumpet technique, jazz history, jazz recordings, jazz theory, musicianship.

Resident Trumpet Instructor Medfield High School, MA
September 2014 to May 2015
After school program, where private and group lessons of 4-5 people were conducted. Developed lesson plans for each student, and assessed progress during weekly lessons. Topics included trumpet technique, improvisation, musicianship. From ages 10-18.

Education
The Juilliard School New York, NY
Artist Diploma in Jazz Studies September 2015 - May 2017
Two-year, postgraduate, tuition free certificate program under the direction of Wynton Marsalis, Greg Gisbert, and Ben Wolfe.

New England Conservatory Boston, MA
Master of Music in Jazz Studies September 2012 - May 2014
Recipient of Merit-based Tuition Waiver. Teachers included John McNeil, Laurie Frink, Jerry Bergonzi, Ralph Alessi, Miguel Zenon, Jason Moran, Dave Holland, Fred Hersch. Member of NEC Jazz Orchestra led by Ken Schaphorst.

Berklee College of Music Boston, MA
Bachelor of Music in Trumpet Performance September 2007 – May 2011
Full Scholarship. Teachers included Tiger Okoshi, Jeff Galindo, Hal Crook, Dave Santoro, Darren Barrett, Terri Lyne Carrington.

n 2011 with a Master of Music Degree in Performance with a Concentration in Jazz as a Fulbright scholarship recipient.