Huntington Station, NY Flute Lessons

Y, and is a Conn-Selmer artist.

*** Lesson Details ***
In addition to the fundamentals (Tone, Rhythm, Technique, Ear-Training, Sight-Reading), I also like to tie-in music theory, composition, and improvisation along the way. I believe in setting short-term, mid-term, and long-term goals that are specific to the student and their needs and wants. I also believe in the benefit of having the student bring in songs or materials that they are interested in, and designing lessons around their interests. I am patient, creative, and willing to move at any pace that is right for you.

Through my experience as an educator I understand that every student is different, and therefore, my job is to guide and facilitate learning, while making the process as enjoyable as possible! My approach is customized to bring out your strengths and interests, while also ensuring that you have a solid foundation on your instrument. In addition, I am professionally trained in both jazz & classical music, and I perform regularly with working bands of all types and genres.

*** Studio Equipment ***
Music room w/ drum set, piano, guitars, clarinet, sax, flute, amps, seating for parents

*** Travel Equipment ***
Students are expected to have an instrument, and eventually selected method-books which will be decided upon for each student based on their needs, goals, or level.

*** Specialties ***
I teach all levels of students, from beginner to professional levels of all ages.

Skills and teaching techniques vary specifically per individual, but may include saxophone technique (technical facility, tone, scales, overtones), improvisation (jazz as well as other styles), sight reading, music theory, ear training, transcription, composition, and repertoire development in all styles of music (jazz, classical, pop, funk, world, etc.)

elen O’Connor, Alexa Still, and Jean Rosenblum. Roberta resides in Brooklyn, New York where she teaches privately and is on faculty at Great Neck Music Conservatory.

Roberta has performed with groups including Duo RoMi (with pianist Mirna Lekic), the Portland String Quartet, SEM Ensemble, Wet Ink Ensemble, Argento Chamber Ensemble, Wordless Music Orchestra, Ensemble Moto Perpetuo, Lunatics at Large, Kagel Nacht, Philharmonic Orchestra of the Americas, Cheyenne Symphony, and the Greeley Philharmonic in venues including Lincoln Center, Carnegie Hall, Alice Tulley Hall, Merkin Hall, The Kennedy Center, Bargemusic (with tenor Robert White), and the Metropolitan Museum of Art. As a guest artist, she has appeared at Bloomsburg University and the University of Southern Maine. She has recorded on New Dynamic Records, Meta, Bridge, and Innova Records.

Roberta has been a Bang on a Can Summer Institute fellow and a participant in the Institute and Festival of Contemporary Performance at Mannes College, as well as participating in festivals at Banff and Domaine Forget. Roberta recently won the Artists International Special Presentation Award and was presented in her debut recital at Carnegie Hall’s Weill Recital Hall. Other awards include: Purchase College’s Baroque Concerto Competition, Bay Chamber Summer Music Woodwind Prize, Dante Alighieri Society of Denver Music Scholarship, and the Emily K. Rand Award.

*** Lesson Details ***
In my studio, I believe that my role is to steer students toward a deeper understanding of themselves, their instrument, and their relationship to music. I tailor my teaching to the needs of my individual students, who currently range from age 4 to adult, often adding improvisation and extended techniques to increase my students’ awareness of the potential of the flute as a channel for one’s creativity.

With over a decade of teaching and a doctorate in flute performance, I have extensive experience teaching flute lessons and recorder lessons to students from beginners to advanced. I teach at my studio in Brooklyn or can come to your home in New York City. I have previously taught in Colorado, Westchester, NY, and throughout New York City. I've been on faculty at The Harmony Program and the Denver Public School’s Saturday Music Program, where I taught beginning flute classes to public school children. I have given masterclasses at the University of Southern Maine and the Pittsburgh Creative and Performing Arts High School, and have taught music classes at Purchase College and Hostos Community College.

*** Studio Equipment ***
I have a studio with music stands, flutes, recorders, an upright piano, and place for parents to wait. Street parking is available, and I'm less than a block from the subway.

Students are expected to bring their instrument, music, and a notebook.

*** Travel Equipment ***
I bring my flute. Students need to have a music stand, music, a notebook, and a working instrument.

*** Specialties ***
I am well-versed in all areas of classical music, especially new music. My primary instrument is flute, but I also enjoy teaching beginner piano, recorder, and music theory.

ty after moving here from Philadelphia in early 2001, after graduating from the University of the Arts in Philadelphia in 1999 with a Bachelors in Music Performance.

Throughout my musical career I have worked in a variety of capacities in addition to being a performer, including working as a composer and recording studio engineer. My main area of expertise is performing as a jazz saxophonist on alto, tenor, and soprano saxophones, and I regularly play throughout New York City in restaurants, jazz clubs, bars and other music venues.

As a private music teacher, I place an emphasis on giving the student an in depth understanding of his or her instrument, and I place the utmost importance on explaining advanced concepts in the simplest of terms in order to insure that the student fully comprehends the objectives of each lesson. Such concepts that I cover regularly are sight-reading, ear-training, technique, and creativity.

As a regularly performing musician in New York City, I can be seen every Sunday night at Ba'sik (a very popular bar in Williamsburg Brooklyn) where I lead an open jazz jam session. A few of my adult students have even been able to reach a level in jazz improvisation that they've been able to come out and sit in with the band.

YOUNGER STUDENTS: I’ve found that in most cases, it is very difficult for students younger than 8 or 9 years old to learn instruments like the clarinet, saxophone and flute. Occasionally, an exception can be made if a younger student is taller than average for his or her age, but most of the time the size of a student’s hands, as well as his or her amount of a physical strength, are not adequate enough until around the ages of 8 or 9. A worthwhile alternative, if a student is absolutely enthusiastic about learning a woodwind instrument, is to begin them on an instrument called the recorder. The recorder is a real instrument, but it is a more primitive, smaller, and simpler of an instrument than the saxophone, clarinet, or the flute; however, it is a great way for young students to begin learning the basics of playing a woodwind instrument and also learning important musical concepts such as reading music notation, pitch, and rhythm. I have also been introduced to a new line of instruments that are developed for younger students by a company called Nuvo. These instruments are smaller and simpler analogs to the saxophone, flute, and clarinet, and they can function as the next step in a younger student’s progression between the recorder and an actual saxophone, flute, or clarinet. The specific instruments that I deal with are called the jSax and the DooD by Nuvo Instrumental. I was asked to demo these instruments and you can check them out if you scroll down to the video section of my profile and look for the videos entitled “jSax and DooD review and demo. Nuvo Instrumental” or “jSax and Dood demo. Nuvo Instrumental”.

In addition to teaching woodwind instruments and jazz improvisation, I also have experience teaching Sibelius music writing software, and audio engineering and editing with Pro-tools LE and Logic Pro X.

PLEASE NOTE: Because the NYC area is very different geographically from other parts of the country, especially in terms of transportation, I may appear outside of your area in terms of where I am available to travel. If you are very interested in taking lessons with me, but you are outside of my travel zone, please feel free to follow up with a Takelessons counselor and have them contact me personally to see if we might make an exception. I am available to travel to virtually all areas of Queens, Brooklyn, and Manhattan as well as Jersey City and Hoboken, depending on if the day and time selected allows me acceptable travel time between other scheduled lessons. If my location in Astoria Queens is not convenient for you, and you are unable to have lessons in your home, then there is also an option where I can most likely find a very affordable teaching studio in an area that is more convenient for you that we may rent by the hour and split the cost for your lesson.

*** Lesson Details ***
Any student, regardless of age or experience level, learns best when engaged in an activity that he or she understands and enjoys. Part of my success as a teacher can be attributed to my willingness to take into account every student's particular musical interests and strengths, and attempt to teach directly to those areas. For instance, in the initial stages of developing a student and teacher relationship, I like to request that the student compile a "wish list" of approximately ten pieces of music that he or she would like to be able to play. This list may include pieces in such genres as classical, jazz, and popular music, just to name a few. It is through this list that the student can begin almost immediately learning exactly what he or she likes, and by default, I can then teach the student all of the technical components needed to perform on his or her instrument, as well as determine the specific areas where the student needs to receive more focused instruction. More importantly, this "thinking outside of the box," customized approach provides a fun atmosphere and enables the student to enjoy learning the art of playing music by not being solely dependent on instructional booklets which many students, regardless of age and experience, find boring and tedious.

*** Studio Equipment ***
Additional saxophones for students who do not currently have a saxophone to use during a lesson. Recording equipment, including software and microphones. Mac book pro with music writing and recording software. Full 88 key keyboard.

*** Travel Equipment ***
Additional saxophones. Macbook pro with recording and music writing software

*** Specialties ***
music, music theory, home recording, saxophone, clarinet, flute,
all styles

o Equipment ***
I have several guitars, a drum kit, djembe, mandolin, clarinet and full-size keyboard.

*** Specialties ***
Guitar: Classical, jazz, American or Irish folk, rock and pop; lead or rhythm.
Drums & Percussion: All genres
Piano: Classical (includes sight reading)

ned from the Broadway National Tour of "42nd Street," where she performed on tenor saxophone, alto saxophone, clarinet, flute, and piccolo.

duate, Cole traveled with the Aeolus Saxophone Quartet to perform world premieres of Jens Marggraf's Three Dances in Germany and Poland as guest artists. He then returned to Poland, during his Masters degree at Florida State University, for five more concerts with the Impression Saxophone Ensemble at international chamber music festivals.

Praised by composer Neil Anderson-Himmelspach for their "precision of rhythms, intonation, clarity of articulation, and sensitivity to radical shifts of mood..." Duo Velocipede is a salient combination of flute and saxophone. They had their inaugural performance at the Biennial Festival of New Music in early 2013. Since then, they have continued to perform around Florida, Georgia, and recently performed a guest artist recital at Harford College in Aberdeen, Maryland.  Anderson-Himmelspach in currently writing a concerto for the Duo.

Singularity performed first for the International Ligeti Festival and Symposium in 2013 where they collaborated with Lukas Ligeti on his quartet Frozen State of Song. Since then they have performed for Michael Maccaferri, clarinetist for the three time Grammy winning sextet eighth blackbird, who praised them for their "...unfaltering rhythmic precision and razor sharp ensemble playing with a sensitive and thoughtful interpretation of the score..." in regard  to their championing of Pulitzer Prize winning composer Charles Wuorinen's Quartet. Singularity made their Carnegie Hall debut in May of 2015.

Cole is a D'Addario Performing Artist and uses Reserve Classic Reeds, exclusively.