9946 SE Talbert St., Clackamas OR, 97015
Instruments:Conducting, Ear Training, Electric Bass, Flute, Theory
Styles:Classical, Jazz, Folk – Country – Bluegrass, Rock – Alternative, Blues, Electronic, Other
Levels:Beginner, Intermediate, Advanced
Experience:20 years
Rate:$45 / hr
Personal Statement
All teachers have access to the same pedagogical (how to teach) methods. Of the two instruments I teach, flute instruction materials go back several hundred years. The other instrument I teach is the electric bass. The electric bass is somewhat related to the upright bass, especially in terms of its role in most ensembles. Its smaller size, the need for amplification and its relationship to more contemporary forms of music puts it in a world of continual change. So I deal with the same set of variables all teachers do. I think what sets me apart is that ultimately my job is to teach the student how to teach themselves. I give them different approaches to solving musical problems. I show them how to identify the things they need to work on and how to most effectively do that. We call that practicing. It is a skill all its own and my intent is to show the student how to do that by focusing on the real issue about their playing.
Education / Training
BA in flute performance, California State Univ., Long Beach
Teaching credential, California State Univ., Northridge
Began masters program in conducting, Cal. State Univ., Northridge
MST in teaching music, Portland State University, Portland, OR
Flute teachers: John Barcellona, Ann Giles, Marilyn Shotola
Bass teachers: Herb Mickman, Federico Pol, Gary Fontaine
Conducting teachers: David Whitwell, Larry Curtis
Theory teachers: the teachers from every theory class I have taken–theory and musicianship, counterpoint, materials in modern music, graduate theory review, 20th century music techniques, plus the following texts–Counterpoint, Kent Keenan; The Study of Counterpoint, J. Fux; Theory of Harmony, Arnold Schoenberg; Arranging Concepts, Dick Grove, to name a few.