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Here are just a few of the many teachers offering Cello lessons in NYC, New York . Whether you are looking for beginner guitar lessons for your kids, or are an adult wanting to improve your skills, the instructors in our network are ready to help you now!
Instruments: Cello
In private lessons, through the assignment of scales, arpeggios, technical exercises, etudes, and solo work, students gain a progressive yet sound understanding of technique. Students develop an internal map of the fingerboard, learn how to accurately and consistently arrive in positions, have the flexibility of creating their own a fingerings, understand the fundamentals of sound production, bowing styles, and how to use these techniques as an aid to music making. Read More
Instruments: Piano Cello
Beginner work how to take a Bow and how to use Bow in Cello. Left hand learning first with tape then take off tape to play listening intonation. Intermediate students work make good sound use bow slow and faster, contact bow differently and vibrato. To get better Vibrato work very slow vibrato to faster. For example play Scale, start Vibrato slowly 1 time to fast 4 time moving wrist. Let my students to record when they practice so they can listen and fix if figure out some mistakes. Read More
Instruments: Cello
I'm passionate about starting students as young as three years old. I love cultivating an environment for young ones that both excites them and keeps them learning as much material as possible from the get-go. Young students are incredibly smart and spongey and I love learning from my own students the growth and knowledge that is actually possible to cultivate in young students. I have students ranging from beginner to advanced of all ages, adults are also welcome. Read More
Instruments: Cello
For beginning students who are children, I typically start with the Suzuki Method and the Sassmannshaus Early Start books. As they grasp the beginning fundamentals, I incorporate the Alfred "My First Theory Book" series. As the students advance, we begin using Martin's "I Can Read Music," Rick Mooney's "Position Pieces for Cello" and "Fun in Thumb Position." For adults, I also use the Suzuki method, as well as the Rick Mooney books. Read More
Instruments: Cello
I gravitate towards the Essential Elements for Strings books for beginner students because the books so effortlessly combine the first steps of cello playing with basic concepts of music theory and history. I then use a combination of cello duets, etudes (like Dotzauer and S.Lee), and method books (Feuillard) for technical studies. I always incorporate traditional music for the cello (like Bach Cello Suites, famous cello concertos), but work with students on whatever music they enjoy. Read More
Instruments: Guitar Cello Bass Guitar
For beginner students I always like to start from the Hal Leanords Essential Elements. It is a great way to start a student off and provides them the fundamentals they need to improve. After that I like to mix in a combination of scales and etudes to continue their technical training while introducing solo pieces to give them something more interesting to play. Starting from a strong foundation will allow the student to progress much faster and helps keep them from getting discouraged. Read More
Instruments: Cello
I teach Suzuki and Energy Efficient Cello Technique. For beginning students who are children, I typically start with the Suzuki Cello Book. Once the student has progressed to have a grasp of the fundamentals, I will begin to introduce solo repertoire appropriate for their first recital performance. For adults, I try to find out what the student is interested in, and guide my instruction accordingly to keep the lessons engaging and fun, no matter their ability level. Read More
Instruments: Guitar Cello Electric Guitar Acoustic Guitar
Do you use specific teaching methods or books? (Ex: Alfred, Bastion, Suzuki, Hal Leonard) Why did you choose them if you did?
I think that it is important for a teacher to be well versed in books but also recognize what is important for the student as an individual. People learn differently and at different rates. I am experienced in a number of books but also believe that the relationship between the teacher and the student is of significant importance. It is the responsibility of the teacher to see what works for the student and make appropriate choices in terms of repertoire and books. Also theses choices have to be made in terms of keeping the student motivated.
If you weren't a musician what do you think you'd be doing instead?
If I wasn't a musician I would be somehow involved with sports. I very much believe that excellence must be maintained and appreciated in society. Both sports and music teach you patience, work ethic and life lessons that can carry you through many other occupations. Sports are great because they teach you how to use your mind. They teach you how to continue through adversity and they teach you to never give up. I have taught sports and enjoy seeing all of those lessons learned. I was a very hard working athlete and sports teach you work ethic.
Did you have a teacher that inspired you to go into music? How did they inspire you?
I have been very lucky to have many great teachers and musicians that have inspired me. I think the teachers that have meant the most to me have been able to recognize the person that I am and keep me motivated and focused. I have been as lucky as anyone in finding people that I have been able to relate to and understand how important music has been in my life. I think that it is a unifying force in the world and teachers have given me insight into what it means to be a part of that and continue its legacy.
What advice do you have about practicing effectively?
I think it's the teachers job to keep effective practice happening. I also think that for students that are just beginning music that quality is more important than quantity. I think that focused practice is a skill in and of itself and that teachers must find ways to keep students interested. That said, I also think that encouragement goes a long way. If a student is stuck in a piece or song, then the teacher must find a way to keep them interested. I think it is a necessary challenge for any teacher to continually think about how to improve their students efficiency.
How do I know if my child is ready to start lessons?
I think that it varies according to instrument. I think that if the chid has a desire to learn then they can start. I also think that it is difficult to know if a child is ready. Generally, if the child is able to put in some work, a lot of other aspects that might get in the way can be overcome. It's very important that a child does not strain himself or herself but generally I don't think that happens if the teacher is paying proper attention to the development of the student. Many aspects of playing music that might be ostensibly difficult can be fixed.
When will I start to see results?
I believe that music can be learned quickly. However usually students get out what they put in. I'm confident that I can get results at a fast pace. It does require getting used to how the student learns. The teacher always has to adjust to the student and analyze what is working and what isn't working. I think that immediate results are possible if the right amount of work and the attentiveness of the teacher are one and the same. I would like for all of my students to learn quickly but music people learn music at different paces.
25 Years
Since We Started
41,456+
Happy Customers
10,769
Cities with Students
3,123
Teachers in Network
Trusted as the industry leader, for over 21 years the teachers in our network have been providing Cello lessons in NYC, New York to students of all ages and abilities.
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