- Teaches students:
- Ages 6+ and special needs
- Teaching since:
- January 2011
Hello! After earning my Bachelor of Music degree in Classical Voice from Hunter College in 2011, I have been working successfully as a singer, voice coach, and academic tutor. As a singer, over the past 8 years I have performed at professional theaters across the country, including Off-Broadway and at the world-renown Carnegie Hall. I specialize in musical theatre, but have a thorough classical technique, as well as strong pop/rock/belt training.
My teaching style is highly energetic, and engages the development of the student's self-esteem and enjoyment, but is also focused on a foundational technique and strong work-ethic. I am extraordinarily proud of the accomplishments many of my students have made, from achieving principal parts in their school productions, to even getting cast in Broadway shows. I am determined to help every one of my students reach their greatest potentials.
As a tutor, my approach is no different. Trained in the highly specialized and effective Lindamood-Bell programs, I have an intuitive grasp of children's needs and levels. I teach decoding, math, and reading comprehension, and nurture students' self-esteem and independence in their learning.
*** Lesson Details ***
I give lessons in 30, 45, and 60 minute increments. Each lesson will be personalized to the specific needs of the student.
I am a professional tutor, working with students needing assistance in decoding, math, and reading comprehension. I work with students as young as 6 and as old as 52! I have a team of other tutors whom offer support with instructional plans and brainstorming, so that each student's needs are completely met.+ Read More
I have been the Assistant Director at the extremely successful CPSM Summer Musical Theatre Workshop for several years. I am the primary voice instructor and acting coach, and have seen a number of my students move on to Off-Broadway and Broadway productions, as well as prestigious undergraduate drama programs.+ Read More
I am leader of song for the parish of Holy Child Jesus in Queens, NY. I interact with other professional musicians, engage with parishioners, and perform classic oratorio pieces.
I was a substitute teacher for grades 3-12 at the Calhoun School on the Upper West Side.
I taught seminars on music appreciation and vocal technique to students in grades 1 - 8. I also conducted and directed the student choir.
Performed Britten's Requiem and Handel's Messiah, as well as works by new composers, at Carnegie Hall.
This is a professional and highly effective clinic to tutor those with learning disabilities.
An American labor union that represents 8,000 current and retired opera singers, ballet and other dancers, opera directors, backstage production personnel at opera and dance companies, and figure skaters.
We practiced the new cadence for example of the deceptive cadence, the plagal cadence, and the phrygian. we learnt the basic root progression. a standard method of connecting triads with roots a fifth apart is to hold the common tone in the same voice and move all the other parts to the closest possible chord number. We learn about mediant triads s well.some ways using cadence that I can expand my harmonization practice is in general, when tempted to part write or analyze a chord in common-practice music as iii (in major), give the context further thought. i imagine with this knowledge it ill help me to compose a better harmonize song.
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
The easiest way to find an interval's name is to first, count all the pitch names present, including the notes themselves (ignore sharps and flats at this point). Then, find out (had it been missing a flat or sharp) what type of interval it would be, depending on whether it is perfect (a 1,4,5,8) or major (2,6,7). If there are no sharps or flats, you are done. If there are, figure out if the flat or sharp decreases or increases the distance between the two pitches. If it increases the distance, the interval is augmented. If it decreases the distance, and the interval would otherwise be perfect, it is diminished. If it decreases the distance and the interval would otherwise be major, it is min that is what I learnt+ Read More
Mariana was great! Very professional and able to explain the techniques in a very clear way. When I began, I was very nervous and self-conscious. She was patient and kind and never made me feel embarrassed!
She really knows her stuff and technique. I'd been to a few voice teachers before and they were great singers, but they didn't seem to have to really KNOW the techniques behind singing. Mariana clearly is a wonderful singer and has great training in what she does.