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Featured Piano Teachers Near Marlboro, NJ

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

Nihal S

Instruments: Piano Guitar Bass Guitar Synthesizer Electric Guitar Acoustic Guitar

I try to provide a good balance between working on theory, technique, and repertoire, and working on aspects that might be more fun like a students favorite song. This allows the student to make progress while also keeping motivated, which is really important for long term goals. For children, the balance has to lean more towards the more entertaining aspect, because of the reduced attention span. I actively work towards getting the younger students to increase their tolerance towards difficult challenges so that they can make more overall progress. Read More

Dante C

Instruments: Piano Bass Guitar Keyboard

My name is Dante . I have over 10 years experience as a professional working musician. I attended Winston Salem State University for Music Business and have been fortunate to work in The Carolinas, Atlanta, Chicago, as well as right here at home in the Philadelphia/South Jersey region. Previously I taught piano and music theory at The Moorestown Recreation Center as part of a non profit program for children and young teens. Read More

Lauren B

Instruments: Piano Violin Cello Viola

However, I do not teach the Suzuki method. I use the book for the songs and exercises in the book. I also like all students to work from a theory book. When we learn how to speak, we also learn how to read and write in our language. I believe that the same is important for music. I use different books for adults and children. As for continuing students, I will see what they know and continue from there. Read More

John C

Instruments: Piano Trumpet Saxophone Flute Clarinet Music Keyboard

I focus on tone production, articulation and phrasing. Sight reading, improvisation and music theory follow next. With clarinet and saxophone students I spend a lot of time on reed selection and care. There are so many misconceptions about reed strength and how it relates to mouthpieces that I could talk about it all day (and usually do). I work on clarinets and saxophones every day and consider myself proficient in identifying problems with instruments and then fixing those problems. Read More

Ron C

Instruments: Piano Guitar Trumpet

Most of my teaching time is spent in the classroom where I have taught music from pre-school through high school. I began my teaching career with seven years of teaching students with multiple handicaps and moved in 2001 to my current postion where I teach from pre-k through third grade. I currently also direct a middle school choir and our annual middle school musical. Over the years I have taught not only private trumpet lessons but beginner piano as well, withstudents ranging from 5 to senior citizens. Read More

Eliot K

Instruments: Piano Synthesizer Keyboard

For beginning students who are children I typically start with a book. We can pair that with playing different musical games and improvisation. For beginning adults I like to pick some simple songs that resonate and work towards learning them. I believe strongly in the diversity of the student. I realize that not everyone likes books. In addition to the building blocks I typically like to get right into learning by ear and improvisation with most students. Read More

Teacher In Spotlight

Alexis S

Instruments: Piano Voice

If you have a Music Degree, what is it in (Performance, Education, Musicology, Theory, Composition, etc) and why did you choose that degree?
I have 2 degrees. My first degree is a Bachelor of Arts from Oregon state university in Vocal performance. My second degree is a masters in music from Brooklyn college conservatory of music. I chose to pursue these degrees because I knew I wanted to be trained to the highest degree and be able to use that knowledge to continue to grow as a vocalist and help others grow in their own instrument. While a masters was not required for the jobs I perform now, it was extremely essential in securing my role as vocal captain in my casts.

What does a normal practice session look like for you?
Vocalizing is absolutely essential to the beginning of every session. Vocalizing is equally important in my own performing. I love vocalizing because it allows me to test drive my voice for the day. Our voices can fluctuate so much day to day, it’s important to feel in tune with your own instrument. My sessions start with plenty of vocalizing and eventually leads to work on solo pieces. I always allow plenty of space to communicate with my students and give them the opportunity to speak about what there experiencing while they’re singing.

Do you use specific teaching methods or books? (Ex: Alfred, Bastion, Suzuki, Hal Leonard) Why did you choose them if you did?
I am very open to all techniques. I grew up playing violin with the Suzuki method, which had shaped my ear wonderfully, but required me to learn to read music supplementally. I also was exposed to Orff and Dalcroze methods from a very early age. As far as vocal technique, I have had teachers who used the Caruso method and Alexander technique. I am not married to any specific technique though I have experienced many different types. I believe in a tailored to the student method is best. My favorite teacher always asked me if what I was doing felt good. That was what was most important.

What do you think is the hardest thing to master on your instrument?
Singing is one of those things that is completely different than any other instrument. You are exposing your entire self and making yourself vulnerable to the listener and to the art itself. I think, as with most things, the more you master it, the more little things you find that you want to improve. Living in the imperfection can be incredibly exposing and frustrating, but mastering is not about perfecting. Sometimes putting down the paint brush is the most difficult part of mastering an instrument. Some days you’re going to be in amazing voice and sometimes you’re having an off day. Both situations are useful.

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