My story...
I started piano lessons at age nine and loved it. After about a year, I lost my enthusiasm, although there were always some pieces I really liked in my method books by people with crazy names—such as the renowned composer ‘Dvorak.’ I didn’t realize it then, but my first teacher wasn’t very good and on top of that, my parents would not let me quit!
At fifteen, I got my first good teacher (Frederick Duffelmeyer) and he was really hard on me. (I had never known that counting was really important.) Getting caught-up from six years of poor teaching, bad practice habits, and a lack of necessary skills, was an incredible challenge. Lessons and practice were a dreaded chore until he got me to finally think and practice in a more efficient way. Now I appreciate what he did for me: he taught me how I could figure most things out for myself.
After two years with him, he retired and I went to another good teacher (Joseph Bauer) who continued to improve my skills until I graduated from high school. By now I was hooked on classical music in general because of listening to classical radio stations and buying records since the 8th grade (with money that I made from mowing lawns.)
Choosing to major in piano in college was a scary decision. I could learn fairly difficult pieces that put me in the middle of the “pack” of other piano majors, but it took me more time than most other students to get those pieces learned.
After 3 semesters at the University of Kansas City-Conservatory of Music as a piano major (studying with Walter Cook), I interrupted my studies and stayed at home to teach piano and save up for going back to school. I found teaching to be FUN! I was going to make sure my students learned the basics and weren’t going to struggle to play pieces way beyond their abilities, as had happened to me. Helping students had an incredible effect on me because now I was on the other side. I could see them doing all sorts of unwise things and realized that I had done many of those things too. My students made me a better player.
I returned to school and studied with the University of Kansas City-Conservatory of Music's new Artist-in-Residence, Jerzy Gajek, a pianist from Poland. Mr. Gajek was a miracle worker. He somehow enabled me and his other students to improve our playing considerably. I worked, practiced and thought better than I had ever done before, making me more efficient and more expressive. He is the teacher I try to emulate every day, even now 40 years later.
After earning a Bachelors degree in Piano Performance, I decided to work toward a Masters Degree in Piano Performance. The Cleveland Orchestra was my favorite orchestra, so I thought, 'why not go to work on a Masters’ at the Cleveland Institute, one of the top music schools in the country, and go to orchestra concerts too?' At the Cleveland Institute I studied with Artist-in-Residence Eunice Podis. (Ball State University had offered me a full Graduate Assistantship for the same year but I declined it and went to Cleveland.) The following year, I decided to finish my Master’s at Ball State University. I studied with Michel Bourgeot and in many ways he was an even better teacher for me than Eunice Podis.
At fifteen, I got my first good teacher (Frederick Duffelmeyer) and he was really hard on me. (I had never known that counting was really important.) Getting caught-up from six years of poor teaching, bad practice habits, and a lack of necessary skills, was an incredible challenge. Lessons and practice were a dreaded chore until he got me to finally think and practice in a more efficient way. Now I appreciate what he did for me: he taught me how I could figure most things out for myself.
After two years with him, he retired and I went to another good teacher (Joseph Bauer) who continued to improve my skills until I graduated from high school. By now I was hooked on classical music in general because of listening to classical radio stations and buying records since the 8th grade (with money that I made from mowing lawns.)
Choosing to major in piano in college was a scary decision. I could learn fairly difficult pieces that put me in the middle of the “pack” of other piano majors, but it took me more time than most other students to get those pieces learned.
After 3 semesters at the University of Kansas City-Conservatory of Music as a piano major (studying with Walter Cook), I interrupted my studies and stayed at home to teach piano and save up for going back to school. I found teaching to be FUN! I was going to make sure my students learned the basics and weren’t going to struggle to play pieces way beyond their abilities, as had happened to me. Helping students had an incredible effect on me because now I was on the other side. I could see them doing all sorts of unwise things and realized that I had done many of those things too. My students made me a better player.
I returned to school and studied with the University of Kansas City-Conservatory of Music's new Artist-in-Residence, Jerzy Gajek, a pianist from Poland. Mr. Gajek was a miracle worker. He somehow enabled me and his other students to improve our playing considerably. I worked, practiced and thought better than I had ever done before, making me more efficient and more expressive. He is the teacher I try to emulate every day, even now 40 years later.
After earning a Bachelors degree in Piano Performance, I decided to work toward a Masters Degree in Piano Performance. The Cleveland Orchestra was my favorite orchestra, so I thought, 'why not go to work on a Masters’ at the Cleveland Institute, one of the top music schools in the country, and go to orchestra concerts too?' At the Cleveland Institute I studied with Artist-in-Residence Eunice Podis. (Ball State University had offered me a full Graduate Assistantship for the same year but I declined it and went to Cleveland.) The following year, I decided to finish my Master’s at Ball State University. I studied with Michel Bourgeot and in many ways he was an even better teacher for me than Eunice Podis.
Our studio facilities...
- Six foot Steinway Model O Grand Piano
- Seven Foot Steinway Model B Grand Piano
- Clavinova CVP 307
My teaching philosophy...
Studying piano can be enjoyable, fun and rewarding for student, teacher and parents. It can become a skill that can last a lifetime. It is called "playing" the piano for a reason-it's supposed to be FUN.
In order to make it fun, you have to be successful. To be successful, you have to spend enough time (practice) to be able to learn to see and recognize the logic and patterns of music.
In order to reach this goal, I expect a willingness to follow my suggestions, to practice consistently 6 days a week for between 10 to 50 minutes (depending on the level of advancement) and weekly lesson attendance.
I believe in a broad and general approach to music/piano teaching. This can lead to the learning of another instrument or voice, and can help foster a life-long appreciation of music.
In order to make it fun, you have to be successful. To be successful, you have to spend enough time (practice) to be able to learn to see and recognize the logic and patterns of music.
In order to reach this goal, I expect a willingness to follow my suggestions, to practice consistently 6 days a week for between 10 to 50 minutes (depending on the level of advancement) and weekly lesson attendance.
I believe in a broad and general approach to music/piano teaching. This can lead to the learning of another instrument or voice, and can help foster a life-long appreciation of music.
Congratulations Shreya, on being chosen as a Winner of the Pikes Peak Music Teachers Association Competitive Festival (March, 2019)
Fees and lesson policies...
- 45-minute lesson - $45
- 60-minute lesson - $55
- Payment for the month is due at the first lesson of that month.
- The cost of music, competitions and festivals will be in addition to the lesson fees.
- Lessons are usually once per week.
Make-ups:
- If I am given at least twenty-four hours notice that a student will be absent, I will try to arrange a make-up lesson. If a make-up lesson cannot be scheduled within a reasonable time, then that lesson will be credited to the next month.
- There is a maximum of six make-up lessons per school year.
- If I must cancel a lesson, it will be made up at a time that is convenient to all parties or credited to the following month's tuition.
- Enrolling for lessons is a purchase of teacher and studio time, prepared to be free from interruptions and distractions. Since the time passes whether a student uses it or not, a lesson missed is time lost.
- If the student is ill, please have him or her stay home in consideration of others.
Withdrawal:
- A student who wishes to withdraw may do so at any time.
- A refund will be made if any is due.
Attending the Lesson:
- Please remove your shoes and put on slippers and/or wear socks. (We provide an assortment of slippers.
Parking and driving on our street:
- Please park on the far left side of the driveway.
Getting started...
FREE TRIAL LESSON
Arrange a short trial lesson. Call or email me with information about your background and goals. Then we can set up a time to meet.
Questions? Call me at 719-282-8589 Please leave a message and we will return your call.
Or email me with the form below:
Arrange a short trial lesson. Call or email me with information about your background and goals. Then we can set up a time to meet.
Questions? Call me at 719-282-8589 Please leave a message and we will return your call.
Or email me with the form below:
|
|