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Featured Piano Teachers Near Philadelphia, PA

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

Alan K

Instruments: Piano Flute Clarinet Drums Mallet Percussion Orchestral Percussion Conga Latin Percussion Music

My teaching is very student-driven. I try to keep the students interests as a primary goal in keeping their interest level and so that they can progress in a musical situation. When they are interested in what they are learning, they strive for success. I try to acknowledge their successes and accomplishments which helps keep them learning and wanting to learn more. The best way to learn music is to teach it effectively, and I ALWAYS am learning from my students in a variety of ways, whether it be a new group that I'm not familiar with, or another style or genre that is new and fresh. Read More

Edward C

Instruments: Piano

I have taught for more than 40 years in various regions of the country. One of the things about music that I like is that you can go to different parts of this country and other s to work in your profession. I did some traveling across the country when I was younger and Taught in South Dakota and Washington states I came back to Philadelphia about 36 years ago and have remain rooted here . Read More

Emma H

Instruments: Piano Voice

This method is especially helpful when I am teaching very young beginning students. I thrive teaching children between 6-9. I emphasize consistent good practice for a short period of time. I encourage my students to fit their practice in transitional times. Practice after dinner, practice before your homework, etc. for 5-10 minutes. It is consistent good practice that allows you to progress faster rather than long unfocused work. I find my students love this idea and it gives them proper freedom in their practice. Read More

Anika P

Instruments: Piano

I will have the have a notebook so that every class we can write down what the student needs to practice and and work on till next time. The student might feel bored in the beginning but I hope to show the student the fun in learning music and how rewarding it feels to learn a piece. Watching the student grow and start to have interest on their own is what is most important. Read More

Rachel M

Instruments: Piano

I think that students learn best when they are relaxed and having fun.  So, anything I can do to keep it light - whether it's drawing a picture to make a point or making up silly words to learn a complex rhythm or using crayons to mark the sections in our music - is a win in my book!  Laughing and making mistakes are a big part of learning.  When my students make errors, I don't scold, I say "good for you, now we can learn something!" I believe that it is both possible and critical to develop the student-teacher relationship as a collaboration. Read More

Maxim B

Instruments: Piano Music Keyboard

I'm classical pianist and piano teacher. I performed in new jersey and pennsylvania. I played piano 25 years. Love teaching of all ages and levels. I use russian school approach. Knowledge of 50 operas and 100 piano pieces. I use every opportunity to play. I love to inspire others to learn and to play. Now i have large pool of students. We love music and each other. Also i learned about 50 operas in 7 years. Read More

Teacher In Spotlight

Karl T

Instruments: Piano Organ Keyboard

Have any of your students won awards or been selected for special honors? How have they succeeded?
My students have won awards given by the New Jersey Music Teachers' Association, Arts 4 Teens, and the Haddonfield School of Performing Arts Students Competitions. My students have received full music scholarships to Peabody Conservatory, Northwestern University, and NYU. Have been accepted to Princeton University as a music minor, and have received a grant for music study at Chicago University. Other students have been accepted as piano oerformance majors to Rowan University, Temple University, and the Berklee School of Music for jazz studies. While not all my students entered the field of music, some have become teachers in their own right, a film score composer, and a well-known television performer as jazz pianist.

Do you use specific teaching methods or books? (Ex: Alfred, Bastion, Suzuki, Hal Leonard) Why did you choose them if you did?
John Thompson - it is comprehensive, address the basic issues of piano technique, and helps greatly to instill a love of music in the student Bastien - contains attractive music that students enjoy, teaches chords and theory as well basic techniques Hal Leonard - has a fine adult course that includes techniques, a sophisticated approach to musicality, and progresses in simple but effective steps. I will emphasize, however, that if a student has had some lessons and is already into a particular book, I generally encourage the student to continue in that particular method until it is finished. I then shift the student over to one of the above methods.

If you have a Music Degree, what is it in (Performance, Education, Musicology, Theory, Composition, etc) and why did you choose that degree?
My degrees, Bachelor of Music and Master of Science, are both in piano performance. I chose the music degrees because piano performance was my strong suit. I was fascinated by the piano from an early age, and was playing piano be ear long before I took formal lessons. I also composed many small pieces for the piano before taking lessons. My degrees included extensive study of music education practices, and a thorough groundwork in music theory. I also have 40 credits toward a DMA in music composition from Temple University. I also studied the organ at the Eastman School of Music and play professionally at a Roman Catholic church.

If you play more than one instrument, how did you decide to start playing the second? (Or 3rd, 4th, 5th, etc)!
Even while I was still starting piano I was always fascinated by the organ. I suppose I enjoyed the variety of sounds the organ could produce. When my parents took me to visit a friend of theirs who owned an organ I would sit down at the instrument and stay there until the visit was over! Later, in high school, I taught myself the instrument, even landing a job at our local church. I taught myself to use the pedals and learned Bach's Toccata and Fugue in D minor on my own. It wasn't very good but later, at Eastman, I took formal lessons and within a short time was playing all the virtuoso pieces fluently. I still play the organ at a Catholic Church and enjoy it very much as my second instrument.

When did you decide to become a professional musician? Was it a gradual decision or was there a defining moment for you?
I decided to become a professional musician when I was a sophomore in High School. This was when I discovered that playing the piano could be a form of expression. I also realized the value of being able to hear a piece of music and then, with practice, be able to render it on the piano and enjoy the music as played by myself instead of someone else. I would ask my teacher if I could play, for example, Copland's El Salon Mexico, to which he replied I was not yet ready, yet, I went ahead and learned it on my own! I always enjoyed playing music that I already knew and I always try to afford my students the opportunity to play music that is familiar to them.

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Recent Articles from the Musika Blog

Soloing Over Blues Changes

...presented in this article, and then thoroughly practice the material, you should be able to play a convincing and interesting solo over the blues progression. The blues progression is usually the first “jazz progression” that a young musician learns. A couple of months ago, I accompanied a student recital for an area teacher’s studio. The recital had a bunch of young musicians ranging from age 5 or so to high school seniors. A bunch of the very young pianists were playing the blues and they didn’t even know it. It’s a popular and easy progression, making it a common tool for teaching and learning.... Read More

Belt Mix Untangled: A 5-Step Guide

...sing the exercise from Step 3 and Step 4 from A3 through your break one more time on an “Ee” vowel. As you sing each phrase, imagine someone squeezing your sides down near your hipbones (low in the torso) like someone would squeeze a plastic ketchup bottle. Using this engagement in the torso, your voice will have the support it needs to carry it through the break without causing any tightness or feeling of pushing in the throat. The sensation in the body while singing the exercise at this point will feel more similar to singing in head voice than in chest voice—this is exactly what you want ... Read More

Easy Ear Training: Tips for singing Harmony

...unsure of the lead part. Simply make sure the lead singer knows what his or her line is and that way you’ll know where to begin. The second thing you need to know is what chord you’re starting on. This is vital for obvious reasons. Thirdly, you’ll need to know the I, III, V notes of the chord. Now, here is where it may get a little tricky. Lets take the song Amazing Grace. For this example we’ll be in the key of G. The I, III, V notes are G, B, D. They make a triad or a chord. It is very helpful to have all your major triads memorized ... Read More

Tips for Beginning Flute Players

...the flute is less intuitive and therefore it is not an instrument that can easily be self-taught. I would recommend taking flute lessons. A good teacher should be able to teach you: Correct embouchure formation Proper breathing and posture How to develop a solid tone How to hold the flute How to clean your flute Fingerings for notes Different articulation Vibrato How to read music Music theory Musicianship skills How Much you Should Practice the Flute As with any instrument, the flute takes years to master. But consistent and constructive practicing will allow you to advance significantly. For beginning students, try to practice ... Read More

The Morningside Lights Parade: Bringing Communities Together Through Merry Music-Making

...By Sarah Hucal A growing number of children and adults gathered on a grassy clearing at the northern end of Morningside Park, the thirty-acre stretch of green between 123rd and 110th Streets in Northwestern Manhattan. It was dusk on a Saturday evening, and residents of both neighborhoods could be seen chatting and laughing while holding either curious-looking musical instruments, or one of many oversized papier-mâché lanterns that appeared to have come straight out of the mythical world of Dr. Seuss. This was the Morningside Lights parade—the culmination a week of puppet-making workshops open to the community, organized by Columbia University’s Miller Theater and Processional Arts Workshop. With the theme ... Read More
Soloing Over Blues Changes
Belt Mix Untangled: A 5-Step Guide
Easy Ear Training: Tips for singing Harmony
Tips for Beginning Flute Players
The Morningside Lights Parade: Bringing Communities Together Through Merry Music-Making

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