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Featured Piano Teachers Near Wayne, IL

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Here are just a few of the many teachers offering Piano lessons in Wayne . 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!

Amber L

Instruments: Piano Voice Keyboard

I performed the lead role of Rosalina in IUP’s production of Die Fledermaus and have been a part of other productions including Le nozze di figaro, Suor Angelica, Beauty and the Beast, Hairspray, Guys and Dolls, Anything Goes and Godspell. I am also a first-place winner of the NATS Music Theatre competition, held at West Virginia University. I have just relocated to Chicago, IL to become a full-time music and voice teacher. Read More

Tristan B

Instruments: Piano Guitar Voice Violin Trumpet Trombone Saxophone Flute Clarinet Drums Recorder Euphonium Tuba Mallet Percussion

I began teaching people how to play instruments when I was in high school, by teaching new students to the band how to play percussion. I then continued teaching once in college by volunteering at local high schools helping new students to the band programs learn brass and percussion. From there I worked with the Rich South high school band director and the Jack Hille middle school band directors. Once I graduated college I taught choir and instrumental music for the catholic school system for two years. Read More

Chynar A

Instruments: Piano Violin

First, I introduce a beginner student to the world of music. I play various interesting pieces on violin and/or piano, and give the student an opportunity to reproduce sounds on the instruments themselves, sing. This is how we get to know each other better. In the beginning its important not to focus on hand placement, on holding the instrument, I do not make it important for the future technique. Read More

Justyn J

Instruments: Piano Guitar Voice Trumpet Trombone Bass Guitar Recorder Euphonium French Horn Keyboard Acoustic Guitar

I am a passionate and motivated instructor who loves working with students and loves showing that making music can be both rewarding and fun! I have a degree in Music Education from Illinois Wesleyan University, and I am on my last semester to get my Master's in Orchestral Conducting from Illinois State University. I have sung in numerous choir, played jazz and classical trumpet all through college, and have a burning interest in Music Theory and how it relates to playing. Read More

Sheri P

Instruments: Piano Voice Synthesizer Keyboard

For piano, I use the Faber, Snell, Alfred and Marlais methods to the end of Level 6. These would include a lesson, technique, theory and performance books. Dozen a Day is included along with Czerny and Hanon in later levels. For voice, the younger students use Patterns of Sound, with scales, theory, performance and diaphragm exercise are included. Older students start with the the Liebling lesson book after a scale testing is done to see what range they sing in. Read More

Miya H

Instruments: Piano Voice Music

I believe each person is uniquely different in this life and that goes for music too. For piano beginners, I like to use the standard Faber curriculum, if you're more advanced we can explore adding some more challenging books such as the Hanon scales, Junior Hanon for beginners, etc. I like to supplement core pieces with scales, technical books, and ad hoc assignments that I sometimes have students pick. For voice, it will very much depend on your goals and where you are at vocally, but my voice teaching style is very much grounded in healthy technique and learning about vocal pedagogy, no matter what genre of music you want to sing! Read More

Matthew J

Instruments: Piano Trumpet Trombone Music Keyboard

I was fortunate enough to receive partial scholarship to attend the DePaul University School of Music and concentrate my work there in Jazz Studies. During my time at the university, I had the opportunity to broaden my perspective on the trombone by studying with several of the trombone faculty. I spent most of my time working with Tim Coffman, but was able to work with composer and arranger, Thomas Matta, and Charles Vernon, the bass trombonist in the Chicago Symphony Orchestra. Read More

Teacher In Spotlight

Caroline R

Instruments: Piano Flute Keyboard

What advice do you have about practicing effectively?
Always have a pencil and don't be afraid to mark up your music! It doesn't make you dumb if you have to remind yourself that a certain note is flat or sharp. If you need to write in the counting - go for it! - it will only mean less mistakes being ingrained in your muscle memory. Especially at the piano - write in any finger number you need! Experiment and don't mind erasing previous work if you later come across a better way to finger a passage...but write what you have in the moment down so you don't forget. Marking up the music not only saves loads of time by not having to repeat certain steps in the learning process, but it also helps your brain solidify positive connections!

What is your dream piece to perform and why?
Rhapsody in Blue with the orchestral accompaniment. I heard it for the first time in Fantasia 2000 when I was little and fell in love with it back then. Once I was in high school I came across the piece again and bought the music. Then in college I made sure as many of my theory assignments or history assignments could focus on that piece. I have always loved jazz, but have kept mostly to the classical world in my practice. Rhapsody in Blue invokes an emotion that is so relatable - which is sometimes difficult for me to do with classical music.

What does a normal practice session look like for you?
1. warm-up for about 20 minutes (long-tones, scales (all modes), arpeggios, thirds, tonguing rhythms) with a tuner (for flute) with a metronome (for flute and piano). 2. Sight-read (I try to rotate between easy - intermediate - advanced) 5 min 3. Wood-shed (find the hardest passages I'm working on practice slowly, fix bugs, experiment, google info on the piece to see if there are any suggestions, listen to recordings, sing them) the 2-3 hardest passages in my repertoire. 45-60 minutes 4. Context practice: play longer sections of passages I had worked on in my last practice session. 30 min Note: this level of detail and continuity requires me to mark up my scores and keep a journal (on my phone) so I know what I've practice when. I also don't do this all in one sitting. Sometimes I do, but more often than not I warm-up and sightread then take a break - maybe practice piano or read, or clean, etc.) then do the wood-shed practice and take another break before going into context practice. If I'm crunched for time I warm-up and do as much wood-shedding as I can.

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