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At www.*** MUSIC STUDIOS you can enjoy: Affordable quality GUITAR, www.*** , MANDOLIN, VIOLIN, Music Theory, Songwriting and Composition sessions in the music studios located in www.*** town www.*** to one tuition £8 for 25 mins, £11 for 40mins or £15 an hour. Novice to virtuoso, all ages and abilities welcome! NO boring exams, get playing, performing, writing, recording and enjoying your www.*** singing and vocal workshops from £2:50 per person, per www.*** (5+ sessions) get FREE Instrument www.*** provided for www.*** taking lesson bookings for 2019To contact www.*** Music Studios txt/tel tel: *** or message page. www.*** MUSIC Studios inc the House Of Fun Music room Supporting our awesome local musicians since 1992. (More master classes in 2019 t. b. a)
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I have been teaching full time in Piano, Keyboard and Theory Tuition for 35 years.
Have played in bands for dancing, backing cabaret and general background music.
All ages from the age of 5 years and upwards are accepted. All styles of music taught including Clasical, Pop, Jazz etc.
A Friendly and Patient atmosphere to learn in. Play for pleasure or go the extra mile and sit Graded exams to gain Certificates
Reduced rates for Block Bookings.
Piano/electronic keyboard/theory Tuition
I teach in my own studio at home and take on students from aged 7 upwards
I have taken all the grades (1-8) with the piano and music theory, I hold grade 8 on the electronic keyboard and have also taken the AMusTCL diploma in theory of music
Lessons are for half an hour, I can take you through the grades or just for pleasure as I understand not everyone is interested in exams
I take a friendly approach to lessons and do expect practice to be done at home
£14
Stephen G.
25 years experienced tutor
Classical, Popular, Jazz, Improvisation, Grades
£17 for half hour lesson
£17
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Deive M. One to One Tuition Piano - Keyboard - Guitar - Bass - Drums - Theory £32 for a one hour lesson, reduced to £29 if paid in advance, and the first one is also only £29.
Length and frequency of lessons are flexible. All ages welcome. I am able to teach students to play any songs or pieces they like and not make them learn any they don’t like. I teach them to play by ear and by notation. I also teach them how to improvise, and speak their mind musically. I have 18 years experience in this line of work, and for 17 years now it has been my full-time occupation. I have studied music at Los Angeles Musicians Institute and Cambridge Anglia Ruskin University. My name is pronounced ‘Dave Montaig’. ‘Deive’ is short for Deiven. Students can choose to learn any or all of the instruments I teach. They do not have to own an instrument to spend part of their lesson learning it. Students do not have to learn to read conventional sheet music. Furthermore, I do not teach it to beginners. I do teach it to those who want to learn it, but only after they have learnt my own ‘RSMR’ notation system. I don’t want to give them an overcomplicated, incorrect view of music that may make them give up. RSMR is the Rational System of Musical Reference, and is not just a notation system; it incorporates a new nomenclature system also. The conventional theory, nomenclature and notation of music contain some serious mistakes. The notation system is overcomplicated, presenting us with a number of things that do not exist in music itself, much of the nomenclature is naming elements of a notation system rather than elements of music itself, and the theory of pitch and the theory of rhythm presented to us do not acknowledge this. Furthermore, much of the notation and nomenclature is imprecise, impractical, inappropriate or misleading, and many of the terms used are given two or more conflicting meanings. Students do unfortunately have to learn much of the conventional nomenclature - because it is so widely used. Many musicians cannot read the notation and do not use it – including many of the world’s most popular musicians – but all musicians use the nomenclature to some extent. All students of pitch-playing instruments should be taught the conventional names of the twelve absolute pitch-tones and all students of chord-playing instruments should be taught the conventional names of the chords, but they should also be taught that these names are bad ones. There is now an enormous library of song notations that are available for free on the web which simply present the lyrics and chord-changes in the song, with the chords indicated simply by name, and every guitarist and keyboardist should learn how to read these; however, they should also learn how those chord-names are far from good ones. I have no problem with beginner guitar and bass students being taught conventional ‘tablature’ notation, and I often give them tabs that have been published on the web. The only difference with my own tablature is that it includes timing details; conventional rhythmic-timing notation is not compatible with guitar tab, but my rhythmic-timing notation is compatible with any system of pitch notation. I do teach ‘grade’ exam courses if requested, and have taught those from the Trinity, ABRSM and Rockschool awarding bodies, but I don’t teach these to an absolute beginner. They present rudimentary music theory as little more than the rules of a bad system of musical reference stated as if it is a good one. I teach the real rudiments of music, and this does not involve introducing such things as the sharp, the flat or the time signature. The sharps, flats and time signatures we are presented with in the notation are elements of notation, not music, and they are in the notation because the notation system is overcomplicated. The sharp and the flat came from the use of a pitch-staff which makes room for only seven of the twelve musical pitch-tones, and the time signature came from using different single note and rest symbols to indicate different rhythmic durations and then allowing them to change which durations they represent. The twelve absolute pitch-tones of the Western musical pitch-tone system should have been given permanent identities, not temporary identities which are dependent on which key or chord they temporarily belong to. And note duration should have been measured in beat-value, not semibreve-value. Semibreves do not exist in music. I came to realise and understand the main mistakes in the theory, nomenclature and notation of music before I ever started teaching, and this was one of the reasons I went into teaching. It caused me to confront these mistakes head on and find the solutions. Some of these solutions had already been proposed by others, and some had not. The staff design I use for keyboard and general-purpose pitch notation has been around for almost two centuries, although I have presented it in a particular way that is unique and improved, but the rhythmic-timing notation system I use with all my students, no matter what the instrument, is entirely of my own invention. I also have invented numerous other music learning aids that translate what we hear into something we can see.
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Piano and keyboard lessons in Wallsend, UK.
Music and Keyboard lessons in Southwark, UK.
Modern approaches to making music in a collaborative online www.*** teaching focus reflects 20 years of experience in the music industry as musical director, keyboard player, guitarist, bass player, composer, performer, improviser and producer/mixer/arranger. As a result, my approach is multi-disciplinary. I specialise in pop, rock, and music for image (soundtracks and film scores). My approach is led by you, meaning that we will build on what you already know and help you to become more fully-engaged with your own creative process. For the beginner/improver level, I recommend weekly or fortnightly sessions. For advanced students, fortnightly or monthly is usually best in order to allow you time to work on projects in between sessions. For our first session it's good if you can bring something that you are already working on or a particular issue that is challenging you. I prefer to generate content based on what your unique needs are rather than giving each student the same exercises to work on. If you’re interested in beginning or improving the following elements, get in www.*** : Keyboards/Piano Guitar/Bass Improvisation/instant compositionTECHNICAL: Using and programming synthesisers and soft-synths Using DAWs for studio or live application Understanding basics of sound – onstage and in the studioCREATIVE: Songwriting/Composition Orchestration for small to medium-size bands Working within other creative disciplines – TV/Film/Theatre/Radio If you are already working in music and are looking for further professional development, please see / / Advanced Tuition / / belowAdvanced Tuition:Are you looking for progression in ANY of the areas below?(These online sessions are aimed towards the working musician who already has some experience of gigging / touring / recording.)PERFORMANCE Approaches to performance Improving your playing Exploring other styles Working successfully with other musicians Using FX pedals live Using MIDI Using softsynths live and in the studio Synthesis (ADSR etc) How to use different FX (modulation/delay/distortion etc) Midi Sync and Playback Sync Playing to ClickTOURING Integrating technology with a live band Working with vocalists Effective Collaboration with crew Building a live keyboard setup Designing a live playback rig Keeping performances fresh on tour Troubleshooting live sound issues Chain of communication on tour How to run effective rehearsals How are production rehearsals different from band rehearsals?WRITING / RECORDING / MIXING Using DAWs Compositional techniques and approaches Using softsynths Mixing with plugins Studio workflow Writing / Mixing TemplateCAREER ISSUES When and how to learn new skills Finding and sustaining work Networking – how to do it your way Career goals Personal projects vs Commercial projects Promoting yourself effectively Staying true to yourselfAbout John:As a musical director, keyboard player and guitarist, John has toured internationally with (among others) Alison Moyet, Marina and the Diamonds and Scissor Sisters. He has worked as a composer in musical theatre (Tales of the City the Musical) and live film scores (The Lost World, Tribute to George Méliès, etc) as well as commercial projects and scores for radio. His credits as mix engineer include Alison Moyet, My Girl The River, Silverclub and Simon www.*** an educator, John has worked at Primary, Secondary and Further Education level, as well as many years of experience teaching privately in person and www.*** from students and colleagues:“I have Skype lessons with John, covering Ableton, Reaper and live playback. He’s an inspiring teacher, and communicates ideas with patience, clarity and www.*** ;Dan Rogers – Bass Player/MD“Having lessons with John has given me the confidence to explore my own voice and to be myself. With his approachable, patient and professional manner he has shared his vast knowledge of composition, mixing and mastering amongst other techniques. He’s amazingly talented and always happy to help, leaving me feeling encouraged and inspired after every www.*** ;Tammy Clark-Barret – Composer“I took a lot from our Skype chat… You advised me to try and turn down gigs and use the free time to do things that will interest me creatively. Using this free time I networked my way into a session, and will be off on a UK tour in www.*** ;Mike Coltman – Session Drummer“I worked with John on the musical he wrote with Jason Sellards (Jake Shears) based on the “Tales of the City” books. I was excited because I knew his work as keyboard player for The Scissor Sisters. I was amazed at how quickly he adapted to working on a musical as composer/songwriter– which is quite different from working on pop CD/touring projects. He is the ultimate collaborator, always willing to do whatever it takes to make the project the best it can be whether that be song rewrites or synth programming tweaks or suggestions/comments on the www.*** ; I have nothing but the highest regard for his talents as writer, keyboard/guitar player and www.*** ;Bruce Coughlin (Orchestrator for Broadway and other theater, film and opera)“I’ve been working for, or should I say with, John for almost 3 years now on Alison Moyet. Not only is he an amazing musician, but a genuinely lovely guy, and it’s been a pleasure to work with him. He really took me under his wing when I first started with Alison, and his encouragement and tips have pushed me to be the best I can be, both as a crew member and musician www.*** ;Martin Roberts – Musician (Schiller, Aelius, Control-S), Programmer, Midi Tech“I worked with John as his keyboard tech, touring throughout America and Europe. His attention to detail with his keyboard sounds is second to none, and whether he’s matching previously recorded sounds or bringing his own creativity into the mix, John knows exactly what to do to get the best results. On-stage and off, John is an absolute gentleman and a pleasure to tour www.*** ;Steven Cowley – playback tech – Lana Del Rey/Marina and the Diamonds, Composer – Camp America“John’s talent is truly awe-inspiring. He belongs to that vanishingly small category of musicians who are not only technically proficient, but are also capable of completely fluid self-expression through their www.*** ;Cary Grace, Door 13 Music“It was fantastic working with John. He knows his stuff. Absolute professional and makes the artist/writer feel at ease. He strives to bring out the best in an artist. Our album sounds www.*** ;Kris Wilkinson Hughes, My Girl The River, Super Tiny Records“The best thing about John is that he’s got the patience and ability to extract a myriad of great sounds from my often poor quality recordings! How he does it I don’t know, but it www.*** ;Simon Arlidge, Songwriter
£65
Letter of recommendation from
Prof Jeanne Zaidel-Rudolph
Honorary Research Professor, Composer - academic.
University of the Witwatersrand, Johannesburg: Wits School of Arts
Music Division: ***@*** ***@***
Pvt. Bag 3, Wits 2050, South Africa: Tel + tel: *** - cell: tel: ***
TO WHOM IT MAY CONCERN
1 March 2020
I have known Rexleigh B. for many years and have been familiar with her work in my capacity as professor of composition and theory. I have experienced this very competent musician as composer, pianist, conductor and teacher. When she became a doctoral student of mine I became closely acquainted with her creative side and her vast musical talent.
Rexleigh’s versatility across many areas of music is quite unique. She is at home as composer, arranger, pianist, violinist and teacher, having lectured (at times for me) in composition techniques, orchestration, score analysis, aural training, piano and violin.
I have seldom come across someone with as sharp a musical ear as Rexleigh – she is a real musician in the deepest sense of the word. It is very rare indeed to find a musician who embodies so many areas of specialisation and is so accomplished in all of them. She is very fine pianist who performs as a soloist but more frequently as an accompanist.
Rexleigh’s first love is in the field of creative work, as it is a vehicle to express her imagination and to optimise her technical and musical prowess. She has produced successful ensemble results with beginner violinists and school choirs, conducting tertiary student avant-garde compositions with professional musicians, and as a musical director/conductor of full scale stage musicals, such as Crazy For You, at the State Theatre.
Rexleigh’s area of expertise lies in both the composition field as well as in her written research and she enjoys creating her own libretti in an interdisciplinary manner; her imagination extends into the staging, décor and theatrical realms of theatrical production. In her original work one finds a broad range of aesthetics and musical styles, which reflect her penchant for eclectic and intercultural modalities within the South African environment. She is equally at home in the Western art music realm as she is with light music and more popular songs. She welcomes diverse elements and influences in her work.
To this candidate’s credit, she wrote the entire script and lyrics for her large-scale Stage Musical, The Rainbow’s Child as well as all the stage directions and of course the music. She scored this work for various large ensemble and vocal combinations as an educational journey for her pupils at the National Arts School. Her large-scale work, Requiem for the Living has been a valuable addition to the repertoire of South African contemporary music.
Several years ago we called on Rexleigh to step in to our new Foundation courses at Wits Music Dept in group keyboard teaching and well as group vocal training in a brand new “zero entry level”
course. This was something of an experiment but in Rexleigh’s capable and skilled hands the course
was a resounding success. Her course structure, knowledge of teaching methodologies and brilliance
as an educator resulted in a group of ‘beginners’ and previously disadvantaged students becoming
well equipped in just a year to join the mainstream undergraduate BMus degree class.
I have seen Rexleigh in action with all levels of students – she has taught a 4th year www.*** class for
me at Wits in analysis and orchestration which proved to be very stimulating and valuable as well as
the 3rd year conducting course. She is optimistic and strongly communicative, while respecting the
efforts of fledgling creators, and encourages her students at all levels to excel and enjoy their
creative activities. Her natural leadership capacity manifests in her ability to inspire and support,
guiding and challenging where needed, in order for her students to reach their full potentials.
It was a pleasure to supervise Rexleigh during her doctoral studies as she is creative and innovative
and produced work of a high standard. She was awarded her DMus in April 2010 with an extremely
good portfolio of Compositions as well as a body of research related to her ongoing interest in
semiotics and symbology. University of Pretoria added Academic Honorary Colours to the list of her
achievements.
On 27 August 2016 I attended the Gala performance of her work Requiem for the Living at the
Linder Auditorium. This was a superb production on all levels, and the cleverly constructed and
powerful music reinforced the dramatic and literary content. A triumph for Rexleigh as a complex
multidisciplinary stage presentation, for which she was also the Artistic Director and Producer.
In recent years Rexleigh has exercised her improvisational capacities, working with an international
cellist called Francois Ha!Man. Their unprepared, live, and musically free, energising improvisations
can be experienced on Youtube, for example : www.***
Recently her composition HOOHA, A Mini-Suite for Clarinet in B flat and piano, won its category
at the International Clarinet Festival and Competition at the University of the Free State. The
Belgian adjudicator has introduced this work to IMF, a French publisher. Her opera, Lost in a
Bluebell Wood is due to receive its premiere in 2021 at the Free State Arts Festival. In addition,
Rexleigh steers several entrepreneurial and humanitarian initiatives including ecological fantasy
games and an online art competition derived from The Rainbow’s Child, via her Public Benefit
Organisation, RFTL, which has taken its name from her composition, Requiem for the Living.
I can without hesitation recommend Rexleigh B. to you as a Director of Music, Head of Music
and/or Head of Performing Arts.
.
Professor Jeanne Zaidel-Rudolph
Prof Jeanne Zaidel-Rudolph
Honorary Research Professor: Composer - lecturer,
Professor Emeritus
Wits School of Arts: Music Division
***@***
***@***
Cell: tel: *** – tel: ***
£35-40
My name is Chris www.*** I am a music teacher offering acoustic, electric and bass guitar tuition, as well as beginners keyboard and drum lessons in Saughall, near Chester, Cheshire.
I am:
Committed to providing bespoke learning programmes, personalised to the individual student's wants and www.*** 's ALL ABOUT YOU!
Friendly, positive, approachable, student-centered, patient, encouraging and fun!
A highly experienced musician and teacher to all ages and abilities, including students with additional learning needs.
A member of the RGT@LCM (Registry of Guitar Tutors).
DBS checked (Disclosure & Barring Service).
Located at easy-to-access, custom-built, teaching studios in the centre of Saughall with plenty of parking.
£18
I enjoy teaching piano and keyboards in a fully equipped studio, and have over 20 years teaching experience.
£14
Hi! I’m a very enthusiastic tutor with previous school and private experience back in my home town. I am now studying theology and religion at Liverpool hope (ranked 3rd in www.*** for this respective subject) and have completed advanced grades in music.
£18
£35
Hello everyone,
I teach in a fun,enthusiastic,and constructive way encouraging and helping my students to grow and utilise their talents . It is very important to me that my students enjoy their lessons while working hard because if they don't enjoy the lesson they won't progress and improve.
I have been teaching Piano/Keyboard for 5- 6 years and have been playing the instrument my whole life.
I cover all the skills and techniques you need to know to make you an all round proffesional Piano/Keyboard player.
I have performed Live at multiple venues and have lots of recording www.*** ;The ability to perform well on stage and record is an extra topic I include on my syllabus.
If you are interested in learning feel free to contact www.*** ;
You can contact me via email:
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***@***
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Mobile:
tel: ***
Piano and keyboard lessons in Farnborough, UK.
Music, Piano, and Keyboard lessons in Liverpool, UK.
£18
Piano and keyboard lessons in Preston, UK.
My name is Rose E., I have been teaching music for over twenty years and I could teach you the many pleasures and challenges of learning a musical instrument.
It does not matter if you are a beginner, intermediate or advanced, or if you are young or not so young, learning an instrument is a wonderful and fulfilling activity.
There is no boring scale-bashing any more for beginners. These days books are exciting and stimulating. Teaching techniques have improved greatly and beginners' books, whether for keyboard or woodwind, just make you want to play.
My pupils are individuals and have many different tastes and likes and dislikes, but the thing they have in common is that they develop a secure technique, coupled with a sound musical knowledge, so that they can enjoy playing without being hampered by technical problems.
£13-14
I have worked professionally as an actor, a playwright and as a singer-songwriter for the past five years, since graduating from the Guildhall School of Music & Drama in 2016. Last year I wrote, composed and starred in a new original musical which is being revived again this year. Later, in the summer, I will play my first festival set as a solo singer-songwriter. I have been playing guitar, keyboards and writing songs for over ten years. My first album and tour as a singer-songwriter are due next www.*** ;
At school, I received 8 grade 1 (the highest possible grade) Standard Grade Awards (equivalent of GCSEs). I then received 5 grade A (the highest possible grade) Higher Awards (equivalent of A Levels), as well as receiving Best In School Awards for English and History, I received Certificates of Merit for the three other subjects: Music, French and www.*** ;
I have worked as a Nanny, teaching instruments to under 10s, and have extensive experience teaching drama school auditionees of all ages, students having gone on to earn places in RADA, Guildhall, LAMDA, Central and many www.*** ;
£22
I have over 15 years of experience, in teaching music to children and adults of all ages. My main profession is individual and group music lessons, within primary schools. I have many private music students - which I have now adapted to teaching, where needed, via skype/zoom or using other digital resources. This method is working incredibly well!
I am the co-founder of a music school (Exeter Music Holiday School), which has been running for 7 years. We offer workshops and individual lessons, throughout every UK, mainstream school holiday. I also play the flute in a Ceilidh band, play in the pit for panto, and have perfomed on various instruments (including vocals), for group concerts and individual performances.
As the 'Wind' section leader, for Exeter Childrens Orchestra (ECO), I am having a wondeful experinece so far, and it has given me the opportunity to brush up on my basic Bassoon skills - which is my next planned venture.
Teaching the following instruments/vocals, in schools and privately has enabled me to tutor to varying degrees, and examination levels (I generally use ABRSM, as the preffered exam board). Here are the instruments I can provide lessons for:
Flute
Clarinet
Recorder
Guitar
Ukulele
Trumpet/cornet
Piano/keyboards
Violin
Cello
Singing
Music Theory
At music school, I run workshops in world music, folk music, tales and art. Storytelling through music. Wind, strings, brass and percussion. Many workshops are adapted to the seasons, outdoor spaces so that we can explore and be inspired. Music really holds no bounderies and can be found everywhere.
I am constantly learning a new instrument, and take the exams through the levels. It keeps me on track with how it feels to learn and coping with exam prep and nerves. Empathy and connections is very important.
Being a parent, I know how important it is, to feel that your child is safe and happy with a mentor. This is why I encourge the take-up of a 'free' initial lesson, so that you feel happy and comfortable with going forward.
Although I do not have any specialist qualifications in working with children and adults with additional needs, I do have lots of experience. I have many wondefullly bright students, within these spectrums, whom have taught me so much. I am more than happy to re-invent the wheel and nurture what is important to each person. My eldest son is a child with autism, and he is an incredibly gifted musicican, who learns by ear and repitition (even though he can read music prefectly well) - as this is how he responds. He feels his way though it, and this makes his very happy. He has also happily sat many exams.
I would love to hear from you. Feel free to get in touch with any questions.
Ruth
£15
£30-40
I am a very dedicated and determined teacher who believes in spending time with pupils to help them understand the subjects they are learning. I am qualified, friendly and experienced teacher dedicated to student learning.
I feel that I am able to connect with pupils through my friendly and personable nature. I love teaching and have the determination to provide the best possible education to my students. I am flexible, patient, and understanding. I am extremely keen to explore creativity within the curriculum, and am committed to high expectation and achievement whilst looking to make learning more accessible and fun.
I am keen to be assigned to a position that will help me build up on my skills and grow as a professional in order to make me the best teacher that I am able to be.
£30-40
I have 8 years of teaching and tutoring experience in a variety of environments. I have always enjoyed teaching, tailoring my tuition to the individual and doing my utmost to ensure that each individual achieves their goals, whatever they may be.
In addition to my education and training, I lived in Austria for 3 years working as an English Language Assistant for the British Council. This invaluable time enabled me to fully hone my German language skills, and I have since worked as an online translator.
Other website affiliations:
www.***
www.***
www.***
£30
Acoustic Guitar, Ukulele, Keyboard, and Piano lessons in Borehamwood, UK.
£5
