Porter Music Lessons

when they feel frustrated. Students' interests will be taken into consideration for the pieces chosen and the style of lessons given. Teaching has always been my passion. I get to know the personality of my students so we can work together to bring out the musical talent in each of them. Student recital is held at least once every year. I encourage all students to participate in the recital.

*** Studio Equipment ***
One Yamaha upright piano and one Yamaha grand piano (for advanced students)

Dedicated chair for parents who choose to wait or observe during the lesson.

*** Travel Equipment ***
N/A

*** Specialties ***
I am a classical musician by training, although I do play other styles as well.

ion in which
students can grow and excel as individuals. Choir, band,
orchestra, and various chamber groups can spark a child’s
interest, as well as interact with other peers in a positive
environment.
A student can feel a great sense of accomplishment and
learning through the study of music. After weeks, if not
months of rehearsal and practice, the student will then
have the privilege of performing in public. The teacher’s
role in this factor is so crucial in that the teacher needs
to be very experienced in the field, and also has to have a
passion for what he or she does.
Studies have shown that the study of music greatly
enhances brain power. Test scores are greatly increased,
especially in the areas of math and reading. Studies have
also shown that students who study music are motivated
to achieve in life. Many music students go on to become
professionals such as doctors, lawyers, and teachers.
Some music students even become leaders of nations,
such as our past president Bill Clinton.

*** Lesson Details ***
Whether the lesson is 30 min. up to an hour, the format is the same: The student first reviews the piece(s) of music and materials from the lesson last week. I'm always emphasizing retention and recall. Next we start on new information and new piece(s) of music. For the remainder of the lesson we do theory and written work, then conclude with older pieces (usually the student's choice).

*** Studio Equipment ***
lessons in dinning area with acoustic piano, waiting area for parents in living room

*** Specialties ***
I like to teach out of many method books, such as Faber and Alfred's. All materials are welcome however.

rs to professional musicians.

years. Students who have studied with him come from a wide range of backgrounds with different goals. Those who have continued with musical studies in college have consistently placed out of at least the first two semesters of music theory and achieved advanced placement in their chosen fields of study. Those who chose a different path continue to benefit from the education and training they received from taking music lessons.

*** Lesson Details ***
There is no "standard formula" to lessons. Each student has their own unique background, needs, and goals. Lessons tend to be somewhat casual but are structured in such a way as to meet the unique requirements of the student.

To accomplish your goals, there are a few requirements and basic expectations that the student and parent must meet.
The first is practice. Students are expected to practice daily for at least the length of their lesson time. This, above all else, is essential to progress. It is also expected that a parent will attend lessons for students who are too young to drive themselves here. It's important for a parent to guide the student's practice time (particularly for younger students) to ensure that the most is gained from it. This is why I ask that a parent observe lessons.
Each student or parent should bring to each lesson a notebook, pencils (with erasers). The notebook will be used to record notes about each lesson, homework, practice advice, etc. Pencils (not pens...nobody's perfect!) are used by composers to record their creations and performers to mark their music. Both of these essential practices are subject to changing thought and must be open to change. So no ink, please!

Performers: It is not necessary to know how to read music at the first lesson for beginners. However, learning to read is required for subsequent lessons and will be a large focus for all non-readers. Lessons are not learned "by ear." A certain amount of theory will be a part of every lesson just as technique and repertoire. Concerning repertoire, it will be selected based on the student's learning needs but also with their input. The main emphasis on performance lessons, however, will be technique and reading. Students should come to the first lesson prepared to discuss their background & goals and the plan of their course of study.
Note: Voice students must be at least 16 years of age.

Composers: Just as with performers, it is not necessary to know how to read music at the first lesson. However, learning to read is required for subsequent lessons. Many young composers have great ideas but can only hear them in their heads or play them on an instrument. Lessons will allow you to obtain the skills to write them down with greater speed, accuracy, and clarity. More advance students will also include exploring a wider range of harmonic languages, advanced notation, instrumentation, orchestration, and aural skills. Students should come to the first lesson with examples of their work, either written, notated, or recorded in a digital format. They should be prepared to discuss their background & goals and the plan of their course of study.

IMPORTANT NOTES:
• To reschedule a lesson, more than one day notice is required.

• Make up lessons must be scheduled before the next regular lesson.

• A make up lesson cannot be scheduled in place of a regular lesson.

• If, for any reason, two 30-minute lessons are scheduled one right after the other, they will be charged as two 30-minute lessons, not one 60 minute lesson which is a different rate.

• If, for any reason, two 45-minute lessons are scheduled one right after the other, they will be charged as two 45-minute lessons, not one 90 minute lesson which is a different rate.

• the studio space is also inhabited by two lovely cats. Do consider this when signing up for lessons.

*** Studio Equipment ***
Yamaha DGX-650 weighted 88 keys full sized keyboard
area for parents to sit and observe lessons.

*** Specialties ***
Main area is in classical music and media scoring with secondary focus on musical theatre vocal performance and composing/arranging.

e Corpus Christi Symphony. An active ensemble musician, Ms. S. has been a founding member of the Heart Strings Ensemble since 2005.

This past spring Ms. S. was honored to receive the Alice Chalifoux Prize in recognition of her talent and dedication to the harp. Ms. S. is also a winner of the 2012 Cleveland Institute of Music Concerto Competition. Ms. S. is an experienced soloist and has competed in world renowned competitions such as the IMA HOGG Concerto Competition and the National American Harp Society Competition.

Ms. S. began studying music in Chicago Illinois at the age of five and has continued to pursue the art with passion over the years. An experienced teacher herself, Ms. S. has been educating students of all ages over the past eight years. Ms. S specializes in teaching beginning piano students and beginning to advance harp students. Ms. S's education and performance experience help her give students a quality, well-rounded education.

as a piano teacher at the Piano Studio. Using the lessons he had learned from his visit to the doctor, he started to form his philosophy on teaching. No matter what the challenges of the student, Alex will always strive to work through those challenges and do his best to successfully teach that student.

There have been a few piano beginners that have come by the Piano Studio that were assigned to Alex’s teaching roster. When they started, they were clearly some of the hardest beginners he has had to work with. One parent even remarked that her child would be impossible to teach. That parent was fortunately wrong! For months, now, this student follows Alex's instructions very clearly and has been paying attention every lesson. This is an example of how Alex's tenacity has paid off.

With a full studio of nearly twenty students per week while attending San Jacinto College, Alex stuck by with this principle of never giving up. Even when it seemed discouraging, he never gave up on any of his students as long as his students never give up on themselves. This, he believes, is what separates teachers who are passionate at their work, and teachers who just try to get by.

Currently, Alex teaches at a piano studio in Webster, TX, while attending the University of St. Thomas. Additionally, he performs weekly at a local Church as the staff organist and pianist.

"This is what I really want to do and I am going to pursue it", then you will find that something miraculous takes place" - J. Krishnamurti

in Salzburg in 2013 and 2014, where she studied in Professor Ya-Fei Chuang’s studio. Also in 2014, she attended the Duxbury Music Festival and studied Chamber Music with Mr. Jeffrey Cohen and Mr. Amir Elden, as well as Solo Piano with Dr. Jonathan Bass. In February 2014, she participated in the New Music Festival, where she had the opportunity to work with talented composer Louis Andriessen, performing his piece “Joli Commentaire.” In November of 2014, she performed two of Ligeti’s Piano Etudes (“Fanfares” and “Arc En Ciel”) again at the New Music Festival. In addition, she has had the honor of working closely with Boris Berman, Brian Ganz, Eugene Pridonoff, Graham Scott, Jung-Ja Kim, Kirill Gerstein, and Victor Rosembaum.
Dr. Ada has held over ten piano solo recitals and performed in a multitude cities, including but not limited to Kaohsiung, Taipei, Austin, Boston, New York, and Salzburg. From 2016 onward, she began focusing on collaborating with an array of instruments and groups. She also began studying with Dr. Colette Valentine and Dr. Anton Nel. As of lately, she has performed at multiple concerts, including a duet with cello in May of 2018, a duet with bassoon in October and November of 2017, and a trio in April of 2017. Furthermore, she is an energetic, inspirational accompanist, and has been meticulously working in Dr. James Morrow’s studio at University of Texas at Austin, performing for lessons, seminars, university choirs, and Bach cantata projects.
Presently, Dr. Ada provides instruction in her personal studio and educates students utilizing her own unique strategies and methods she has refined throughout the course of her musical career. Ultimately, she strives to continue performing, teaching, and enriching people’s lives through her heartfelt music.

Teaching Philosophy ----- Giving students to achieve their dreams
Dr. Ada teaches piano lessons, viola lessons, music theory in levels of beginner, intermediate and advanced, from age 4 and up.
I have a deep passion for teaching, especially when I see student's development with their musicality and creative ideas. As a teacher, teaching students is a reward to me. I divide my teaching strategy into different levels.
For beginners, the fundamental studies have always played an extremely significant role in their future learnings. I focus on the specific aspects, such as the hand posture, relaxation, or rhythm. From their first few lessons, I start to build their good habits on piano practice. Also, during lessons, I divide time into sections, 2/3 on pieces, 1/3 on studies (like scales or some exercises) and theory. Generally, I ask beginning students to practice as lesson length daily.
In intermediate, (the level from sonatines or above) I ask students to define their interests on specific genres and composers. But I also open and assign them to a variety of repertoires. It helps them to build the enjoyment of piano playing. For motivations, I train students for piano contests based on their willingness. Generally, I also ask intermediate to practice as lesson length daily.
For advanced students, the lessons concentrate on building their professionality and musicality. I focus not only on musical techniques but also on artistic expressions. I describe piece as a story, which creates imaginations and helps on creating their musical ideas. But I even analysis piece logically, it helps them to memorize.
Moreover, I use different learning modalities by aural, visual, or kinesthetic learners, always demonstrate in lessons.