Rosedale, NY Music Theory Lessons
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Hi! Welcome to my TakeLessons page, where I provide information about my background and teaching services.
I am an experienced performing artist and teacher that works in New York and regionally. My music students include children, working professionals, performing artists, and seniors. I attended Barnard College, Columbia University, and Maggie Flanigan's acting conservatory program. My training at Columbia University and with private instructors focused on classical repertoire and theory, but I also work with students on popular music (i.e.Pop, R&B, Electronica, and Folk). Music theory (i.e. sight reading, chord progressions) and practices from Linklater, Alexander, Williamson movement, and Art of Practicing techniques are incorporated into my music instruction.
30 minute-lessons are available for children aged 5-6 only while 60-minute lessons are available for students above the age of 6. Prospective students may sign up to take a trial lesson with me at first to see if we ...
What is my background?
I am an experienced performing artist and teacher that works in New York and regionally. I have developed a keen ability to assess and shape talent from years of training, teaching, performing, and working with the head of Arts programs to conduct admissions interviews, student evaluations, and performances. I attended Barnard College, Columbia University, and Maggie Flanigan's acting conservatory program. My training at Columbia University and privately with notable musicians focused on classical repertoire and theory, but I also work with students on popular music (i.e. Pop, R&B, Electronica, and Folk).
What material is covered during lessons?
Music theory (i.e. sight reading, chord progressions) as well as posture,
What are the profiles of my students?
My students come from different walks of life: children coming from school who bound excitedly to my lesson door; teenage artists who have the passion and vision but lack the technique; working adults who seek reprieve from the stress of work by singing/ learning an instrument that they've always wanted to play; and seniors who want a fun hobby to keep active. I enjoy teaching them and watching them master the fundamentals while developing their own performance style (or even composing their own music)!
What is my teaching style?
Based on feedback, students appreciate that I am a teacher with a warm personality whose supportive, passionate, and fun approach and effective techniques help them attain the following: 1) a firm understanding of the fundamentals of music theory or acting technique; 2) an ability to effectively learn how to perform and practice singing/playing/acting a piece; and 3) a style of performing that minimizes tension, produces beautiful sound or a dynamic character, and/or allows them to fully express themselves. After a few months, students should have sound knowledge of all three.
My students and I connect, in part, because I remember being like them. On stage, I started out dancing and acting; I delved into singing and songwriting and then fell in love with playing the piano. The day that I learned how to merge those passions (i.e. singing while playing the piano) was one of the happiest days of my life! Now, whether I'm performing Shakespeare on stage, playing Chopin and Beethoven, or singing while playing tunes by Whitney Houston, I still get excited. Hopefully, I fuel that excitement in you, too!
What is the lesson structure?
Due to the comprehensive nature of my teaching style and structure, students above the age of 6 take lessons for 60 minutes; 30-minute lessons are only available for children aged 5-6. If a student wants to learn how to play while singing, I am happy to help him/her do so!
*** Studio Equipment ***
My studio location in Manhattan is conveniently near Midtown, Chelsea, Flat Iron, Murray Hill, Union Square, Tribeca, and the Financial District in particular and is easily accessible via public transportation. It houses an upright piano and seating for parents.
*** Specialties ***
Acting: Meisner Acting; Theater Acting; Shakespearean Acting
Music: Classical Piano; Contemporary R&B & Pop Piano; Singing; Theory; Playing Whie Singing; Songwriting
Thirty minute rates are for younger students only. Adult students are required to book 60 minute lessons.
· · In studio
· Singing · In studio
· Acting · In studio
I have a 100% rate of getting my students into their school of choice as of yet. Although I don't guarantee it, I will work relentlessly to make sure you are well prepared though. I will also lend you PDFs of books to help you save a buck.
*Update again. My student made all state!
I have been playing drums and percussion since the ripe old age of 9, in 4th grade. Originally wanting to play the clarinet, my music teacher thought my sense of rhythm was too good to waste and placed me in the drum section. I was the only kid who didn't want to play drums. Twenty years later here I am, a professional freelancing percussionist and teacher. The journey to where I am was a long and winding one but I can't imagine it any other way. After learning basic drumming in elementary sch
If you choose me as a teacher, I will shape you as an overall musician, not just a "Drummer". What this means is that you won't just learn beats from me, you will learn all the fundamentals of basic to intermediate music theory, from note reading and rhythm to chord changes and ..... You will start on a practice pad and quickly go to a drum kit. Lessons will be half and half, but more 75/25 drumkit, because everything you learn on a pad can translate to the kit! I would also teach you timpani and xylophone if you like so you can broaden your horizons and even get into the middle/high school or college you want. I have most of my books of pdf that I can give you to print or you can purchase your own copies. You would also need to purchase a practice pad and eventually a drum kit. If you don't want to purchase a drum kit then there is almost no reason to study it since you won't be able to practice between lessons. Practicing, let's talk about that. It is expected that you practice the material we learn in the lesson throughout the week. Now I know everyone is busy, but if you can put aside 25 minutes (a sitcom without commercials!!) a day then you will have a better understanding and better retention of the material. Doing this will let us just review the material a little bit and go on to learn new and exciting things.
The bottom line in choosing me? I am a professional musician in the trenches of the nyc music scene and know what it takes to make it.
· Djembe · In home
· Drum · In home
· Drum · In home
Playing music is demanding, and can be an amazing experience, so my main approach in teaching is to keep it fun, and keep it focused. For the past 16 years, I’ve developed my own style, teaching hundreds of students from age 5 to 75, in most types of music. The early lessons are for starting to learn basic techniques and music theory. We can also begin to play your favorite songs and musical styles. Eventually, lessons will often begin with me asking “What are we working on today!?” and the student will bring me their work and questions. We laugh a lot, work really hard, and make some great music!
Let me know if you have any questions, and hope to work with you soon!
*** Lesson Details ***
My approach to teaching music is strictly an individualized one, catering to the specific interests and goals of each student. I believe that if learning music is truly enjoyable and fun, students will develop a sincere love for their instrument. In teaching children, my emphasis is on instilling in them a love of music. While progressing in mus
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.
· Ukulele · In home
· Bass Guitar · In home
· Ukulele · In home
View Full Profile
My minor is in music theory and I have had considerable experience teaching theory one-to-one. We will discuss the rudiments of musical theory (key/time signature, note values, figured bass, etc.) all the way, if you're so inclined, to 12-tone series and complex harmonies.
About Dr. Daniel
Dr. Collins has sung the roles of Sharpless in Madama Butterfly, Sid in Albert Herring, Figaro in The Marriage of Figaro and in The Barber of Seville, Papageno in Die Zauberflӧte, Belcore in L’elisir d’amore, Jupiter in Orphée aux enfers, Dr. Falke in Die Fledermaus, Bottom in A Midsummer Night’s Dream, Masetto in Don Giovanni, Schaunard in La Bohème, Clayton McAllister in Cold Sassy Tree, the Clock in L’Enfant et les Sortilèges, the Mandarin in Turandot, and Haushofmeister in the world premiere of Dorian Gray. Dr. Collins has had the pleasure of singing in the choruses of the Metropolitan Opera, Washington National Opera, and Fort Worth Opera. He has performed roles with the American Symphony Orchestra at Carnegie Hall, Kentucky Opera, El Paso Opera, Summer Opera Theater, Bel Cantanti Opera, Amarillo Opera, Crested Butte Opera, Portland Opera To Go, Opera Southwest, Opera Theater of Northern Virginia, Concert Royal, Ash Lawn Opera, Bay View Music Festival, and Seagle Music Colony.
Dr. Collins is currently on the voice faculty at the University of North Carolina at Chapel Hill and maintains a private voice studio at the National Opera Center in New York City where he teaches singers of all skill levels including those who perform on Broadway and at the Metropolitan Opera. He has a passion for vocal instruction and is dedicated to the success of each individual student. Dr. Collins keeps an active record of each student’s progress, vocal exercises, repertoire, performances, and personal goals. He is a member of the College Music Society, the American Guild of Musical Artists, the National Association of Teachers of Singing, Pi Kappa Lambda, and Opera America.
· Audition Prep · In studio
· Opera Voice · In studio
· Singing · Online
Dr. Daniel C.
Dr. Daniel C.
Dr. M. has received awards in many competitions and festivals including Second Prize and the award for the best performance of a piece written b
Steven has worked with such distinguished artists as Yoheved Kaplinsky, Jerome Lowenthal, Andre Laplante, Christopher Elton, Roger Vignoles, Carol Vaness, Dawn Upshaw, Virginia Zeani, and Golda Vainberg-Tatz. He has established himself as a prominent collaborative pianist playing many recitals each season with singers and instrumentalists. He has participated in numerous music festivals including Music Academy of the West, The International Keyboard Institute and Festival, The TCU-Van Cliburn Institute, and the Adamant Music School where he performed live on Vermont Public Radio.
In addition to operating a successful private teaching studio in New York City, Steven currently serves on the faculty at Manhattan School of Music in the Keyboard Skills department, is the official accompanist for the Denes Striny Vocal Studio, and is the Director of Music at St. John's Lutheran Church in Hoboken, New Jersey.
You might not hear this very often, but I love music theory! Not only is music theory fundamental to a musical education, it has the potential to transform your musical experiences by revealing the inner structures of the music that you love. Whether you are a singer, an instrumentalist, a composer, a well-trained professional, or an undergraduate just trying to pass your music electives, I'm here to help! I have been an music theory tutor for over ten years. Here are some sample topics we will cover:
--analysis of classical repertoire
I'm currently pursuing a PhD in Music Composition at The Graduate Center, CUNY, and I have taught undergraduate courses at Queens College, CUNY.
· Piano · In studio
· Piano · In studio
· Accompaniment · In studio
He was always punctual when arriving to rehearsals, scheduling rehearsals was a breeze, even with our packed schedules, and he was always prepared for each rehearsal with copies of the music I'd provided, as well as notes he'd gained by working through the music prior to the rehearsal.
He had a pleasant demeanor, and plenty of creative ideas for any places in the song that allowed for improvisation or personalization of the chords or phrasing. His accompaniment was the perfect companion to my singing, and could range many genres of music.
I also worked with him as the pianist in larger bands performing in the NYC area, and there as well, he was great to work with. Highly recommended! :)
Theory and ear training lessons are great for instrumentalists - including voice - as well as those that have never played an instrument (spoiler alert: you'll end up learning a little piano or another instrument in the process!)
Anything that is learned "theoretically" is most useful if you understand it aurally - so that you you become free to improvise or compose with it - so every theory lesson is simultaneously an ear training lesson.
Beginners typically start with simple songs, basic tonality and chord functions/scales, basic rhythm/meter, and advanced students work on things like interval training, singing atonal melodies, hearing chords with 5 or more notes, advanced chord progressions, non-western music theory/aural skills, polyrhythms, analyzing any crazy music they are often interested in, etc. At every level, we connect what we're working on with music we're listening to and explore: what exactly is going on in this music?
Kate has played with Anthony Braxton, Dustin Carlson, Andrew D'Angelo, Kris Davis, Marty Ehrlich, Michael Formanek, Ben Gerstein, Jon Irabagon, Chris Lightcap, Terry McManus, Matt Mitchell, Helado Negro, Ted Reichman, Chris Speed, and the Asphalt Orchestra, and has recorded with Jasmine Lovell-Smith's Towering Poppies and David Aaron's Flip City.
"...[G.'s] inventive drumming...eads the listener into a gentle place." -Step Tempest
"[G.'s] drum work on this [Fortune Songs] is exquisite." -Bird Is The Worm
In addition to being a frequently used sideman and collaborator, Kate also leads bands exploring her own music, which often tend towards dense, long-form compositions with
Kate holds a dual degree in Jazz Performance and Music Education from the Eastman School of Music. Kate has also studied independently with a host of great drummers, improvisers, and composers, including Dan Weiss, Tim Berne, Tony Malaby, Marc Ducret, Miles Okazaki, and John Riley.
Kate has enjoyed teaching drum lessons independently for 10 years and has taught at the NYSMF summer jazz program and several schools.
· Drum · In home
· Drum · In studio
· Drum · In home
As a graduate of the Mannes School of Music, I have an excellent background to teach and tutor all levels of theory from basic musicianship to advanced harmonic analysis and score reading. Students will receive on 1-on1 instruction in all aspects of tonal harmony and counterpoint.
About Yoon Jae
My main instrument is piano and I specialize in teaching students who already play the instrument and wish to get a more in-depth experience with piano literature by learning new repertoire and developing their technique. I also teach adult beginners and young beginners whose parents have a dedicated commitment to having their children make music an integral part of their education. For all my students, I emphasize the importance of practicing efficiently and developing critical listening skills. This encourages consistent improvement and whatever your perso
I encourage all my students to perform once or twice a year but this is entirely optional and based on the student's comfort level.
I am available and willing to travel to your home for an extra fee as long as public transportation is available.
· Classical Piano · In studio
· Violin · In home
· Piano · In home
Yoon Jae L.
Yoon Jae L.
I have had a very solid foundation in Music Theory. If you would like to better your understanding of the function of music, or if you are enrolled in a Music Theory course and need tutoring, I would be happy to help.
I began my study of the piano at the age of 7, my mother being my first teacher. I started on Alfred Piano Books, and still strongly believe in that same curriculum. From there I began to study classical composers like Chopin, Beethoven, Clementi, and Mozart. Although my love of classical music runs deep to my core, I love jazz, pop, and gospel music. I am happy to assist the learning of any style, anything that YOU are passionate for
With me, you can expect to make weekly progress in your instrument of choice. I am a dedicated performer and an even more dedicated teacher. To me, the two go hand in hand.
Please allow me the opportunity in teaching you and in turn I will give you all the knowledge I possess.
· Singing · In home
· Singing · In home
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Zero travel time is great for a busy schedule.
Typically priced lower than local lessons.
Online students stick with lessons as long as local students.
We've only had one lesson but I've learned more with him than I did with an adult
So far, very good."
We practice together the scale degrees that are designated by Arabic numerals (1, 2, 3...), chor ds are similarly designated by Roman numerals (I, II, III). For example, in the key of C major the notes are C,D,E,F,G,A,B and we have designated them as 1,2,3,4,5,6,7. However, when we consider the triad chords in the key of C we have Cmaj, Dm, Em, Fmaj, Gmaj, Am, Bdim. These are designated I,II,III,IV,V,VI,VII. When speaking about these chords, for instance in the key of C major, we would call Gmaj the five chord, Dm the two chord,
Cornel's review of Mariana"
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