Powell Music Lessons

works with students to play for their own enjoyment and shares his passion for music. In addition, I will provide instruction on music theory and music history as part of instrumental lessons as it applies.

Jeremy received his training at Grace College in 2010, where he received a Bachelors of Music in Instrumental Performance. In addition, he attended the Carnegie Mellon University in 2012 where he received a Masters in Music. He has studied with Peter Sullivan, Jim Kraft, John Kitzman, and Graeme Mutchler.

As an expert in his field, Jeremy looks forward to helping new students achieve their goals. Jeremy's teaching style is positive, supportive, patient and constructive, focused on the individual student's needs, and enjoyable. Jeremy will work at your pace and cares about each of his students. Jeremy will teach you the proper positions and fingerings, technique, how to read music and how to improve your playing.

I am currently accepting new students. I recommend weekly lessons for all students to ensure good progress, but I do offer bi-weekly lessons as well. I can provide information on purchasing or renting an instrument if needed. You can check my availability on my schedule and sign up for lessons with TakeLessons.com. Please e-mail me with any questions or about available times for lessons. I will respond quickly. Thank you for your interest and consideration.

passion for music extends from intense listening to creative expression. He is ready to share his Love of the Performing Arts with his next students.

g music. They learn to create music, to play with other musicians, and to play by ear.

Although Fox is serious about music he is able to keep lessons entertaining for students, and offers instruction in many musical genres. Many of Fox’s students have gone on to study music in college and have started successful careers in the field.

tudio. Learning an instrument is beneficial for many reasons. Aside from the obvious enjoyment one gets out of playing beautiful music, working at a skill week after week helps children build confidence and grow in all areas of life. I coach my students to take pride in their accomplishments, to exude an air of assurance and poise when sitting at the piano, and to become self-directed learners.

MY TEACHING PHILOSOPHY:
One of the wonderful (and obvious) benefits of private instruction is that each student's unique abilities and shortcomings can be brought into clear focus and addressed. I am highly skilled at encouraging students through a careful balance of praise and constructive criticism. I make sure they are aware of (and take pride in) their strengths so that when challenging moments arise, they are motivated to do the work.

I maintain high expectations for my students, constantly reminding them that it's the quality (not the quantity) of their playing that counts. It is much more important to me that a student learns to play one piece well rather than ten pieces poorly. There is no race to the finish line. I believe in taking however much time is necessary to help a child understand a concept—we might spend the majority of a lesson on it if we have to. Learning must be done at the child's own speed. Children benefit enormously from having 100% of my attention during lessons; they will never need to try and "catch up" with other students.

METHOD:
Most method books for young students focus on teaching the child to read notes on a page, and as one can only learn to read music so fast, children are therefore stuck playing songs that keep the hands rooted on or around Middle C. There are so many problems with this method, least of all the fact that it's quite boring. A bigger issue is the lack of focus on technique and playing. Children are naturally musical--they love to sing and dance. Playing piano should be no different. Children can be taught songs using no music at all; rather, they can learn simple melodies by identifying patterns on the piano. This helps train their ear AND frees the child up to focus on technique rather than scrutinizing the notes on the page. My students get to use the entire keyboard almost right away (both black keys and white keys) rather than being crowded around Middle C.

Another issue with the Middle C position is that it creates an awkward twisting inward of the wrists, which breeds tension. The first thing students should learn is how to play with relaxed wrists, not tense ones!! This is one of the building blocks of good piano technique. Keeping kids rooted around Middle C for the first six months of their piano education does not set them up for good technique.

Now, all of this is not to say that I don't teach children to read music--I do. Absolutely! I introduce intervals and guide notes as soon as possible. I think the intervallic approach is super useful, especially when dealing with children who are coached from a young age to look for patterns. Alongside reading music, though, it is important to teach songs that are only for playing.

For beginning students, I like to use the Piano Safari method. These books offer a wonderful blend of rote pieces (for playing, not reading) and reading pieces that use the intervallic approach. These pieces are fun and engaging--some parents complain about how their children won't stop practicing them! Here is a sampling book of other books and materials I may use:

Beginning Students: Tales of a Musical Journey Books 1 + 2, Piano Safari Books 1 + 2, Carl Czerny's The Little Pianist, Bastien Piano Literature Book 1, Royal Conservatory Series Preparatory Books A & B and Book 1

Intermediate Students: Piano Safari Book 3, Bastien Piano Literature Books 2-4, Royal Conservatory Series Books 2-6

Advanced Students: Bastien Piano Literature Books 5-6, Early Advanced Classics to Moderns, Royal Conservatory Series Books 7-10

Parkinson, Peter Sullivan, Peter Ellefson and Joe Duchi.