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I am a qualified singing, piano and music theory teacher and have been teaching children and adults of all ages and abilities for the past five years. I especially enjoy working with beginners, creating friendly and supportive environment and making music learning fun. I have taught both privately and in schools and have prepared pupils for ABRSM exams, school concerts, choir solos, scholarship auditions and family performances.
Alongside teaching music, I have worked as a Teaching Assistant in Primary schools. Many people say that music and maths go well together and that really is the case for me. I enjoyed maths at school so much that one day I wanted to become a maths teacher. Returning to Primary setting reminded me of that, so now I have decided to also offer maths tuition here on tutorextra.
£15
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Experienced music teacher of more than 10 years I am available to tutor in various areas of music and instrumental lessons. I am Head of Music at a local secondary school so have intimate knowledge of GCSE music including across different exam boards.
I have taught guitar for many years from beginner to advanced and alo available to teach piano from beginner to intermediate level.
Also available for music theory tuition (ABRSM) and production/recording guidance and tuition.
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Literacy, Basic Maths, English, Music, General Science, Clarinet, Piano, and Flute lessons in Deal, UK.
£15-30
S
Experienced pianist, providing tuition for all ages at pupils homes, weekdays 11am to 7pm. Have been tutoring families as well, inspiring them to learn and play four hands repertoire, as well as preparing for ABRSM exams. I'm tutoring pupils for their own pleasure or ABRSM grades, in relaxed, positive, encouraging and motivational atmosphere towards achieving better levels of performance. From classical to contemporary and popular music, the choice is yours. All that matters is having joy of playing music, whether beginner, intermediate or advanced. 12 years of experience, piano or keyboard is perfectly fine with me, what matters the most is enthusiasm and genuine desire to improve. I'm based in West London, references upon request.
£40-50
Subjects:
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.
Practical Piano Tuition and Theory In your own Home.
I come to you , and cover exams and all other types of music.
Please mesage me for further details.
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Piano lessons in Darlington, England.
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Subjects:
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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£13-14
I teach from my home in Vale Street, Amblecote, and also travel to my pupils to teach where time and distance permits (and where a suitable instrument is available for both tuition and practice between lessons). Currently I teach around twenty-five to thirty pupils per week, ranging in age from five to www.*** ; Lessons are usually on a regular weekly basis and range from 20 minutes (for very young beginners) up to an hour for more advanced www.*** ; Fees are tailored according to duration and location of www.*** ;
Entrance to ABRSM graded exams is encouraged (but not obligatory), as is participation in local music festivals each www.*** ; I believe exams are a means to an end but should not be an end in www.*** ; Understanding and enjoyment of the music performed are paramount, as is developing technical proficiency on the www.*** ; Likewise, I place particular emphasis on the experience to be gained from performing music in front of an audience, rather than the purely competitive side of music www.*** ; I aim to teach to the highest standards, and many of my pupils obtain merits and distinctions in both their practical and theory grades, as well as regularly achieving 1st, 2nd, and 3rd places in their respective festival classes.
I aim to teach my students not only to become good pianists, but well rounded www.*** ; To this end, I place emphasis on developing good sight-reading skills and aural ability, as well as encouraging my pupils to adopt good practice habits from an early www.*** ; Theory and history of music, including awareness and understanding of different musical styles and forms, is also something which I incorporate into my teaching, as is the compositional element - being a significant requirement of the GCSE and A level school music www.*** ; Theory tuition is also offered separately.
By developing the above skills on the piano, I fully believe in helping my students to become self-sufficient musicians who can then continue learning and enjoying music for www.*** ; In addition, I believe this will help them develop skills relevant to many other disciplines, activities, and everyday situations, including: gaining in self-confidence; the ability to communicate and interact well with others; improving manual dexterity; and improving brain function (in terms of cognitive ability, lateral thinking, spatial awareness, and motor co-ordination skills) - even for those who do not go on to study or perform music at higher levels.
£13-14
German and French to A Level offered, music (piano to grade 5). Beginners welcome at any age. Minimum age for piano is 7.
Prep for grade 5 music theory & piano grades 1-8 Or just for fun! Open to most styles.
Travel 5 miles in & around Lowestoft.
£13
Piano, harp and singing lessons in Edinburgh, Scotland.
Piano tutor in Essington, Wolverhampton.
Over 15 years experience of teaching.
£12
Subjects:
Learn and enjoy! I am an experienced teacher of both adults (my oldest was in his eighties!) and children from beginners to advanced. I aim to give students a solid grounding in all musical aspects to allow an accurate and musical performance and for lessons to be enjoyable. Lessons are therefore structured but informal and move at the student's own pace. I have a 100% success rate for students taking ABRSM Grades 1-8 inclusive, with 75% achieving merit/distinction. (Note - exams are not compulsory but are strongly recommended for children and some of my adult students simply wish to take them!) I also teach up to Grade 5 theory routinely, and exceptionally, Grades www.*** ;
Lessons are in my own home on the Halesowen/Quinton border. The first lesson is free as it provides an opportunity to assess a starting point and get to know each other before committing any further. Please note, prices quoted are for one hour lessons but 30/45 minute lessons are available for beginners as appropriate at a pro rata www.*** ;
If you have any questions or would like to discuss arranging lessons please message me with contact details and I will phone you www.***
Feedback from students:
Sarah: 'Jane is an amazing teacher who has really encouraged my love for music. I really enjoy my weekly lessons.'
Edward: 'I have an excellent teacher who shows such care in helping me improve and makes the overall experience enjoyable.'
£24
Subjects:
Piano and music theory lessons in Lichfield, UK.
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Piano lessons in Bo'ness, UK.
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Piano and keyboard lessons in Wallsend, UK.
Experienced piano player and class teacher specialising in classical and jazz.
£20
Piano lessons in Kingston upon Hull, UK.
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Subjects:
Joe began his musical journey at the age of six. Initially following the classical tradition, he completed his Grade 8 qualification before applying for higher education. Joe studied at the Royal Welsh College of Music & Drama between 2014 and 2016, under Mei Yi Foo. This period saw development in his command of the instrument and skills in accompaniment, solo, and chamber performance.
Forever drawn to a range of genres, an interest in jazz music naturally emerged. Joe joined the Royal Birmingham Conservatoire jazz programme in 2018, where he studied 1:1 with John Turville and Liam Noble. He also received band coaching from tutors such as John O’Gallagher and Percy Pursglove. These experiences helped to shape his approach to harmony, improvisation, and group playing. Joe continues to study and explore jazz theory in his own time.
In addition to his musical commitments, Joe runs Installed Events: a small business that supplies entertainment and AV hire for weddings, parties, and corporate events. He is also an experienced live sound engineer, having toured the UK and Republic of Ireland with artists such as Marty Wilde, Ultra 90s, Psychic Sally, Des O’Connor & Jimmy Tarbuck, Jethro, Bye Bye Baby, and The Wurzels.
£30
Concert Pianist; Master of Music (Theory); Asst. Prof. of Music (Performance); recording artist ; Lecturer at Southampton University.
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In over 20 years of teaching, I have taught a wide range of students from young beginners to vocational musicians and adults who learn for pleasure.
The teaching environments I have worked in include peripatetic teaching at independent schools (Belmont House School), vocational schools (Purcell School and the RSAMD Junior Department), and community music trusts (Cumbernauld Music Trust).
I currently teach piano privately and have students preparing for GCSE, ABRSM and A Level performance exams. No student will want to keep coming for weekly lessons if they don’t enjoy their lessons so as a teacher, I always aim to inspire and motivate my students with creative teaching practices.
I also run Rhythm Circle in Sutton Coldfield, a musical holiday club for young children aged 5-9 years. It teaches the basics of music via multi-sensory games and activities. Recommended for young beginners as a friendly introduction to formal music lessons
BMT started in 2005 when founder Sam B. rode his bike to visit students in their homes to give guitar lessons. Back then it was a paper pocket book map, CDs and books, all bookings done in a paper diary…
Fast forward to 2021 and we now run a team of wonderful teachers and admin staff to spread the joy of making kids feel awesome through playing www.*** ;
Our teaching philosophy is all about giving students a great lesson experience so they have fun, build confidence and form identity through music.
£15
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I teach any age and ability, for exams (grades 1 to 8 and all Diplomas) or purely for fun. I’m very well qualified and have been teaching for twenty years including several years as a University tutor.
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Subjects:
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
i am a great believer in adults as well as children learning to play piano, and that the process should be fun!
£25
Subjects:
Dale F. Dip FRSA CVT VIDLA, (Fellow of The Royal Society of Arts & Diploma in Contemporary Vocal Teaching) is the director of Ilkeston Academy of Voice and Piano. Dale began his professional musical career when he was 16, playing the role of ‘Baby John’ in ‘West Side Story’. Since then he has worked all over the world as a Singer and Pianist. He has been teaching for many years has enjoyed great success with his alumni, past and present. He also holds an 100% pass rate for his students who have entered for the Trinity London School of Music examinations and looks forward to the next set of exams.
Ilkeston Academy of Voice and Piano offers excellent local music tuition. Boasting a beautiful music studio with a fabulous white grand piano. Bookings are taken online or over the phone so why not learn a new skill and start your musical journey today.
Whether you're starting from scratch, resuming after a break, or have hit a hurdle with any aspect of music, I'm here to help. If you take exams, I'll ensure you have all the knowledge and practice necessary to succeed at Royal School of Music grades, GCSE or A level. Whatever your goals and interests, we'll find your way to enjoy playing music.
£16-48
Music has been a huge part of my life since beginning to learn the piano when I was 13 years old. I quickly taught myself to play the piano and my mom would often ask me to learn songs from the radio by ears. Soon I have developed an ear for music, showing family and classmates my unique talent for music production and song writing. When I was 16 years old, I started a rock band with my brother and a friend. During this time, I learnt to play several other instruments (guitar, bass and drums). Soon my reputation grew, and I became known throughout the area for my quick fingers on the piano and powerful stage presence. After 3 years of touring the clubs and the most popular music festivals in Slovakia, the band broke up and I went into full time employment. After 2 years, the allure of making music and performing was too much and I applied for the Slovak/Czech version of the X-Factor. I truly enjoyed the experience and learnt a lot, making it through to the final 10 males in the Under 25s category. This exposure gave me the opportunity to have a brief stint as a touring musician, playing abroad in venues and hotels throughout Europe. However, due to being homesick and not enjoying travelling, I returned to Slovakia and got a job as an AV technician with the Slovakian National Theatre. It was at this time when I also built my own home studio and began producing and mixing music for up-and-coming local rappers, bands and artists. As my reputation grew for beat making, mixing, mastering and producing. Very soon I realised that I needed a premises and opened my own studio in Bratislava. As a young entrepreneur I quickly started to attract popular Slovak and Czech artists such as H16, Aless, Plexo, Otis, FobiaKid, Ego and collaborated with some of the best producers in Eastern Europe. Soon my productions were being played on national radio and television. Being called one of the Best Young Producers of 2017 by a reputable online magazine. After being offered a distribution deal from an international record label, I decided it was time to take my career to a new level. I felt the UK music scene was where I needed to be and sold my studio at the end of 2017. I moved to the West Midlands and began applying for work in recording studios and theatres. Soon, I found the Beatsabar Music Project and I have been working out of there until now – Recording sessions, mixing & mastering, music production, song writing, music production workshops and tuition. My musical production skills have developed from roots in musical composition and live performance experience. I have added to my journey via the studio route, having spent time as a recording engineer, in my home studio and later in my own premises. As a producer, I move between two roles, depending on the needs of the artist and music. Sometimes I involve myself in every detail of the musical arrangement of the artists’ songs, becoming an extra member of the band. Whereas at other times I take more of a back seat, subtlety guiding the artist through the maze of multitudinous options available when making contemporary records.
£20
My name is Nicholas J., or simply 'Nick', for short.
I have been playing the piano since 2001, and I continue to play on an almost weekly basis in my local church.
I began giving piano lessons back in 2012, and have absolutely loved the experience ever since.
I offer online piano lessons, and online music theory lessons.
Online lessons are a great way to learn, particularly in modern times.
If you're unsure about which level is appropriate for you, we can discuss this in your first free trial lesson.
I am a strong believer that anyone is able to learn music, so long as time is spent developing the required skills.
Whether you're just a beginner, or a more advanced student needing guidance, let's explore music together!
£14
