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Featured Saxophone Teachers Near Indianapolis, IN

4174   5 STAR Musika Reviews

Here are just a few of the many teachers offering Saxophone lessons in Indianapolis . 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!

Samuel K

Instruments: Piano Guitar Voice Trombone Saxophone Flute Clarinet Oboe

I began teaching back in my sophomore year of high school when one of my friends wanted to learn how to play the piano. I gave them half hour lessons once a week and tailored my teaching to fit what techniques they wanted to learn. After that, I began branching out and teaching other friends, and eventually found myself helping out the middle school bands during my study hall. Now that I am in college, my own playing has improved and I have found new ways to connect and teach students whether that be in person, or by using technology such as skype. Read More

Sarah (

Instruments: Piano Saxophone Clarinet

I cater my teaching and methods to each individual student and his/her needs and goals. For beginners, I often use Hal Leonard’s Essential Elements. After progressing past that, the Rubank books and Hite etudes work for many students. Starting around 8th grade, I introduce solo repertoire appropriate to their level. During lessons, I always have students work on some form of scale, sight-reading, and ear training. I have several duet books (and a Disney book!) that students love to sight-read from. Read More

Richard D

Instruments: Piano Guitar Saxophone Drums Organ Synthesizer Music Keyboard Electric Guitar Acoustic Guitar

I have been teaching on and off since 2010 and now teach almost exclusively from my home studio in Bloomington, IN. I've had the experience of teaching everyone from 4 year olds to advanced adult students and implemented various teaching methods for the many different minds learning styles. I always liked to look at the art of music like learning a language so I have since learned to create individualized lesson plans for my students that gives students plenty time to "speak", that is learning the fundamentals, phrases, and tools to share their personal story and to study the vast pedigree of music that has come before them. Read More

Benjamin M

Instruments: Saxophone

With younger beginning saxophone students I start them with Hal Leonard's Essential Elements book 1. This Provides a great foundation for students to start on and benefits in the long run. For mid range skill level students we start with (depending upon skill) the Rubank beginning or intermediate method book. This provides a lot of melodic material for them to grow as a musician. Lastly, for the advanced we would start with Ferling Etudes which really challenge the student at a higher level. Read More

Christian K

Instruments: Piano Voice Saxophone Flute Organ

There are several different method books that I like to use with my students based on age, knowledge/experience, and of course if the method book they use is something they will enjoy; it's very difficult if a student doesn't like the book they're using so I try to give them options. For beginners, I like to use John Thompson's Easiest Piano Course or the Schuam method books. For additional practice and work, I like to use Schaum's Fingerpower and have the student write out the notes then recite them aloud while playing the exercise. Read More

Teacher In Spotlight

Caroline G

Instruments: Violin

What do you think is the hardest thing to master on your instrument?
To me, mastering an instrument is an impossibility in that there is always so much more to learn!! It is entirely endless! Once you get past one challenge that you have set for yourself, there are loads more which is allthe fun of it! New dimensions can and will unfold to you not only within the spontaneity of each given moment which only comes through the lucidity you bring to that given moment but also to the creation and ability to comprehend metaphors and the language and databases of those metaphors developed overtime! Things that I always work for and with are bow distribution, direction, intonation and INFINITE MUSICAL AND SPIRITUAL SUBTLEITES that unleash themselves within the very given moment of initiation.

Do you use specific teaching methods or books? (Ex: Alfred, Bastion, Suzuki, Hal Leonard) Why did you choose them if you did?
I began studying under the tutelage of the Suzuki repertoire alongside a more traditional rugged approach to playing the violin. I also learned by playing Kreutzer etudes and exercises from the Carl Flesch books early on in my training. I find that these books worked moderately for my individual learning style. At age 9, I began to steep myself in the learning style of Paul Kantor my next consecutive teacher along the path which included self-created intonation practices and individualized intonation practices and technical practices taken generally from the pieces that I loved and we together chose to explore. This kind of applied learning worked successfully for me. Picture this metsphor for my learning style: it felt something equivalent to that of a moderate mathemtician that was not digesting the material in the most efficient way and was bored by the exercise of math in and of itself until applied to physics and then began to enjoy the math immensely and grew to learn it at a lower-entropied pace. Placing a focal point in such a relationship to something other than itself where it is necessary for that which it is in relationship to feed it and supplement I find is the necessary building block of building a balanced marriage between imagination and logic.

What does a normal practice session look like for you?
A normal practice session is variant upon the day but includes a form of meditation (yoga, sitting practice, walking meditation) at the beginning of each session, and before I bow to the instrument, followed by a slow warm up of the technical most difficult passages within the piece that I am working towards. After this, I play something of Bach for an hour to begin and finish with segments of the pieces that I am working on slowly and incrementally with rhythmed patterns. There is also a time and place for running through a piece. This will be explained directly with the individual student at the approrpiate time.

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