Violin Teacher Pei-Shan Shares importance of patience, Tips for Parents, and a Memorable Moment with a Student

 
 

You’ve brought up the connection between your name “Pei-Shan” and the word “patience,” referencing how it’s a core aspect of being a good teacher that is also built into your name. Can you share why you think patience is such an integral part of being a good teacher and what ways you use patience with your own students?

To be patient, a person must realize that the learning process is never a straight line, just like riding a roller coaster full of ups and downs, along with fear, excitement, and happiness. As a teacher, I address the student’s existing problems over and over again without losing patience and giving up because of the importance of establishing a good habit right away. Since each individual is unique, no one ought to follow others’ learning paths, and as a teacher, patience comes from acknowledging that each student is different. I explore a variety of ways to explain different concepts and solutions to help find the ones that work for each student. Simultaneously, I help the student create the ability of critical and independent thinking because they will become their own teachers that way!

Parents, while balancing their professional lives, stressful work meetings, and their love and dedication to their family, will confront moments where patience isn’t easy. When it comes to motivating a stubborn child to practice, what suggestions do you have that will make their parenting job just a little bit easier?

To begin, it’s important to be patient in the very beginning. Getting used to the initial awkwardness of how to hold the violin and bow, as well as playing in tune can be very challenging - even professional violinists continue to work on playing intonation. 

Parent encouragement and support are very important for the learning process. Taking this role helps kids naturally practice and enjoy doing it. For parents, I suggest trying to engage in music-related events as a family. These can include concerts, ballets, theater, and movies. This helps build exposure to music and often when children are inspired by a particular song, they are more willing to practice compared to a sense of being forced as a response to authority. 

Another suggestion is for parents to learn and practice with their child in the beginning stage. Although it takes time, it’s worth it in the long term. Perseverance, having a positive attitude, discipline, problem-solving ability, boldness, and concentration are all acquired and developed through failures, frustrations, and tedious repetitions during each practice session. Having a supportive parent there with them helps children work through these emotions and hurdles. Last but not least, it will always feel easier to give up but it’s important for parents to ensure their child stays committed once they decide to take lessons.

Violin students have to think about and carry out several movements at the same time. One hand needs to decide on the notes, another hand/arm is using a completely different motion to produce the sound, all while trying to avoid the dreaded “screetchy” sound. When it comes to a student’s practice session, what approaches can s/he do that will help mentally and physically balance these simultaneous considerations?

As a rule of thumb, staying relaxed both mentally and physically is the first step. Anxious rushing to achieve a certain goal usually makes things worse. 

Consider the violin to be a delicate scientific product, which sensitively reflects whatever inputs we provide. When a scratchy and harsh sound is the feedback we get from the violin, something must be amiss with our execution, such as somehow“wrong” placement and contact point of the bow with the strings, or the different angle or pressure from the left fingers. To solve the problem, it is always helpful to pause and consider the possible causes of generating an undesired sound. While playing, slow down to examine and feel the changes in each muscle. Imagine the energy and the passion as a flowing from the heart and mind. Don’t be afraid of using your imagination to try out different possibilities. Each failure is the foundation for success to come. Only through immeasurable attempts and perseverance can one expect the arrival of success and enjoy relaxation and the fun while playing the violin someday.


Every teacher has a fun and memorable story from a lesson with a student. What is your most memorable lesson with one of your own students?

I had a student with an expressive language disorder and difficulty with posture because of scoliosis. She was unable to speak during her lessons and I had to rely on body language to communicate. After working with her for almost a year, she, to my surprise, for the first time since we began lessons together, spoke - she asked me whether she could perform in the end-of-semester recital. I quickly followed up with her request to ask what repertoire she had prepared. She slowly began to speak and in a clear slow voice said the piece she was eager to play.

That was my first time hearing her voice, which was so sweet and lovely. In that moment, I truly realized how music is a way of expression and communication. Even though she had difficulties and physical limitations, playing the violin had become a tool for her to speak and express herself to the world and people. On the day of the recital, I was moved and impressed by her confident performance, the satisfaction on her face, and of course, her big charming smile.  

Teacher Mi Shares Benefit of Starting Lessons Early, Impact of the Tech Boom on Music, and Preference for Piano Adventures Books

 
 

Beginning at an early age is one of the best contributors for success in music. The challenge is often managing short attention spans and behavior when kids are so young, though. What recommendations do you have for parents who want to start their child in lessons but aren’t sure the best way to begin?

Very young students are able to benefit so much as they learn to enjoy music at an early age. Their infinite curiosity propels students toward having very fun and engaging lessons. I would recommend first starting kids under the age of 5 with group lessons. These lessons tend to be fun and easy while being around their peers, which can be good motivation toward learning and staying with music. As students over the age of  5 are more mature, I would recommend starting them with private lessons as the teacher is able to guide each student according to their ability and preferences.

You’ve been teaching in San Jose since before the big tech boom. Have you noticed changes in the music community and how have you adapted as a teacher to meet the culture shift?

Having been involved in the music community for such a while, I can really say that music is timeless. In Silicon Valley, parents and students are just as engaged in learning and development through music as they were 20 years ago. Thanks to much of the technology that has come out of Silicon Valley, teachers and students have been able to connect better with learning tools and participate in online lessons. This has meant that even if students are unable to come in person, we’re able to minimize gaps in their education and students can learn with continuity.

At Opus 1 we encourage students to use the Piano Adventures books written by the acclaimed teachers and authors Nancy and Randall Faber. What do you think makes these books an ideal method of learning piano compared to other series?

We recommend the Piano Adventures series as they’re easy to understand and enjoyable textbooks for beginners. Kids can also have fun and build a solid foundation starting with piano Adventures by playing the duets included in the books with their teacher. They are also very culturally inclusive


Cello Teacher Elliot Shares the Importance of Family Support, Dedication to Practicing, and How He Got Into Juilliard

 
 

You graduated in cello performance from Juilliard, considered one of the most internationally prestigious music schools in the world, with an acceptance rate just shy of Stanford and Harvard. What ways did you practice that lead to your acceptance, and what suggestions can you give beginner cellists that will help them on a successful pathway to learning music?

The first thing I would suggest when preparing for any conservatory audition is to start early. It’s a tough and rigorous process, and it takes years of preparation. Luckily, I had the full support of my parents and a teacher who helped me every step of the way. That included meeting important deadlines, and clearly outlining everything I needed to do to fulfill the audition requirements. 

Secondly, I would suggest getting organized. Plan out your preparation time carefully, and make goals. Setting short-term goals can help to learn and memorize the required repertoire feels much less daunting.

Third, I would suggest choosing pieces that highlight your abilities the best. Keep in mind, you don’t have to learn all new repertoire for the audition. If there are pieces you already know that meet the repertoire requirements, then use them. 

Lastly, and most importantly, I made my audition preparation the most important thing in my life at the time. I was practicing 3-4 hours every single day, there is really no other way to do it.  If you want to reach a high level on any instrument, then slow, careful, and consistent practicing is a must. This means practicing slowly, working with a metronome, and recording and listening back critically to yourself. Another aspect of practice that often gets overlooked is performing. For me, learning how to play under pressure was crucial. You have to make sure that along with your day-to-day practicing, you are also getting the opportunity to play in front of people. This can be in recitals, studio class, or simply playing for family and friends. 

What were some of the biggest challenges you faced as a beginner cellist and how did you overcome them?

From the beginning, I was a very natural musician. I picked up on the cello quickly and was a very intuitive player. Unfortunately, I  had my own way of doing things, and this led to me picking up a number of bad habits along the way. Early on, I had a lot of tension in my playing, and it eventually started to hinder my progress as I was learning more difficult repertoire. It wasn’t until I got my first serious teacher that I learned the importance of a strong technical foundation. This teacher forced me to rebuild my playing from the ground up, and although it was difficult and often frustrating, it was maybe the important time in my music education. He helped me understand the mechanics of cello playing, and how to play effortlessly with proper technique. These lessons have stuck with me to this day, and I try to pass this on to all of my students. 

It’s fairly established that family support and positive encouragement are fundamental to students’ success - not just the amount of time they spend practicing. This is demonstrated in the standard Suzuki method and approach that nearly all string students use. Can you share ways that your family supported you while learning cello and recommendations for parents of our aspiring Opus 1 music students?

Having the support and encouragement of my parents was absolutely crucial to my development as a musician. This was something I didn’t truly understand until I got older. From the very beginning, my parents saw that I was passionate about playing the cello, and they did everything they could to nurture that and help it grow. This included driving me to lessons, competitions, and summer programs all over the country. Almost every weekend was dedicated to my musical activities.

We were always listening to classical music together when I was young, and they would often take me to concerts that would come through my local area.  Because of them, I had the opportunity to see so many incredible performances. This instilled in me a deep appreciation for the music I was playing and inspired me to keep progressing as a cellist. Even now, I still listen to classical music almost every day. 

Your international performing career includes countless performances, including at prestigious Carnegie Hall and Lincoln Center/Alice Tully Hall in New York. What is your most memorable performance and what makes it stand out among others?

Over the years, I’ve had a lot of memorable performances, but one that’s always stood out to me was when I played Beethoven’s Piano Trio in B-flat Major at St. Paul’s Chapel at Columbia University. It wasn’t necessarily a prestigious performance or anything, it was just a very intimate, and beautiful experience. Beethoven’s B-flat piano trio has always been one of my favorite pieces, and getting the opportunity to perform it with close friends, in such a beautiful setting is something I’ll never forget. Although the entire piece is incredible, the third movement particularly is in my opinion, one of the most beautiful things Beethoven ever wrote. It was just one of those performances where everything kind of fell into place, and I felt like we really did justice to the music we were playing. 

Dr. Leah Shares What Practicing Means, Perseverance When Performing, and Compares Teaching in Korea and the US

 
Leah Rhee Headshot.png
 

You have a large collection of international performances as both a student and a performer. Many musicians attribute their success to how they practiced to prepare for performances. How did your own approach to practicing evolve from when you were a child to becoming a professional?

Yes, I agree that practicing is one of the most important and key factors to a successful performance.

When I was a child, I honestly did not enjoy practicing since I felt like I was merely repeating the same thing over and over and I easily got bored of it. Even when I decided to major in piano, I used a lot of hours working on the same material until I got it right. As my studies became more serious, however, I had so many other things to take care of - studying for exams, teaching classes, accompanying workloads, house chores, etc. so I didn't have as much time to practice or work on a certain piece compared to before. This is when I started to think seriously about how to practice efficiently - which I think is the key element these days, for our living especially in this busy, fast-changing world. 

Thanks to my previous teachers, I was able to learn how to use my brain and not just my fingers to successfully achieve my goals in my practice sessions, and I wasn’t wasting my time. Remember that everything has a reason. If something doesn’t work after you’ve worked on it for a while, we need to change our way of thinking. After all, our body is controlled by our brain, not the other way. Thus, I would say that being a pro on something means that you know how to do it with efficiency.

What are some suggestions you have for our Opus 1 students that will help them evolve their own practicing as they get older and become more advanced in their playing? 

Practicing should be viewed the same way as studying for any of the subjects learned from school. Becoming advanced in something not only means that their skill level is improving but “independence” should always come along. The teacher can always guide and give an idea for practicing tips, but after all, practicing or studying happens when students are all alone. By the time students reach a certain level, they should have already explored several different approaches to their practicing.

Practicing should always have a goal set. Within a certain amount of time, you need to know what you want to change/fix. So, before you make any sound, sit down and plan your practice session. If you think you’re having the same problem for a certain amount of time, then you should stop and find another way, or reach out to your teachers for suggestions. The point here is to always be alert, responsive to what is happening while keeping the good things and getting rid of the not-so-good ones. Coach yourself and train your mind to always be aware of what you are doing. “Did you achieve your goals?” “Did it work?”

What is one of your most memorable performances as a student and what about it distinguishes it from your other experiences?

One of the most memorable performances I recall as a student is not a perfect, flawless performance, but the opposite. This was when I was in fourth grade, during the end-of-the-year student recital from my piano institution. I was performing last in the program since I won the grand prize in a local competition. Even at a young age, I felt the pressure of having to represent this institution with excellent performance. 

I played a rondo movement of a Mozart piano sonata, and I never felt that nervous. Since I wasn’t able to warm up when I was waiting for my turn in the cold backstage, I felt like my fingers weren't moving as I hoped they would when I played the first few measures. It was moving by itself without my consciousness. All I could think of was to finish this piece as fast as possible and get off the stage. After the return of the first theme later in the piece, my fingers started to wander around. I was repeating the same thing over and over to finish the movement, but I couldn’t find my way. I was lost. 

This was my first time to experience a memory slip on stage, and I didn’t know how to overcome it. I never stopped playing, but I was repeating the same music over and over. Luckily, my fingers were able to continue playing without my thoughts and I eventually could finish up the somewhat "extended" rondo. As performers, we must learn to persevere through our mistakes, which are inevitable, rather than giving up.

You’ve taught in Korea, Texas, Indiana, and now the Bay Area. What are similarities and differences that you’ve noticed between parents’ and students’ approaches to music lessons in these different regions?

Before anything, I want to articulate that my answers are solely based on how I felt from my own experiences and that my answers cannot be generalized. 

Most of the time, Korean parents are extremely interested in their child’s education. This is due to the competitive population in Korea where getting accepted to college is such a big deal and regarded as a key to a successful career. Therefore, parents are much more involved and concerned with their child’s lessons. They will constantly ask about the progress of their students, and sometimes will be anxious if their child seems like they are falling behind. I’m very well aware of this since I was also raised and educated in Korea, where, as a student, you are constantly being compared with your peers. 

As a teacher who understands the culture, I like to make the parents feel assured, so whenever I discuss students’ progress, I mostly focus on the stronger aspects, rather than the weaker ones, unless it seriously needs to be mentioned. On the students’ side, because I know how much pressure they go through, I try hard to encourage them with warm words and let them realize how wonderful they are on their own.

When I first taught in the States, I was amazed at how parents gave much freedom to lessons. Not because they aren’t interested, but because they trust their child to let them build their relationship with the teacher. I was feeling less pressure on proceeding forward to the next level but could make sure the student was enjoying and understanding the concept thoroughly. I learned that the students were more proactive and self-determining on their progress and shared their thoughts without feeling embarrassed. 

There are pros and cons of both sides, and I do not prefer this over that, but I like to absorb and combine these different approaches and ideally seek a balance. Again, this depends so much on the students and the parents and their distinctiveness, and I’m looking forward to broadening my experience with even more diverse students and parents in the Bay Area!


Piano Teacher Aaron Shares Exams, His "Outstanding Teacher" Award, and Comparing Chinese Lessons to the U.S.

 
 

In 2018, you were awarded the Extraordinary Piano Teacher Award from the Shandong Musicians Association in China. What areas of your teaching style do you feel contributed to earning this award?

When teaching, I always try to teach my students how to teach themselves. It is the core of my teaching philosophy. We have a saying in China that goes “授人以鱼，不如授人以渔”。 It has the same meaning as the great philosopher Maimonides’ “Give a man a fish and you feed him for a day; teach a man how to fish you feed him for a lifetime”. Not only teaching my students how to play the instrument, but help them to understand the logical and practical reasons behind that, so they can gradually pick up the approaches on how to learn or practice when I’m not with them. This is what I think is the most important.


You have a lot of background preparing your students for exams and assessments. Can you share what techniques and approaches you use that have contributed to your students’ success in their preparation?

Preparing exams can be challenging, but participating is definitely a good way for the students to grow. It could be a stage goal, and a test of the outcomes of their learning progress. Since it has a timeline, it also helps to keep the students motivated, and they’re more aware of what to do, and what to anticipate.

While preparing for the exams with my students, the first and also the most important thing is that I make a plan with my students and the parents. The plan must be realistic and should be broken down into different steps, and stick to it. Also, if they like the pieces they’re playing, chances are a lot higher for them to get more practice. So I make sure they have the preferred pieces. Motivation also comes from the process of learning. In each lesson, I make sure they’re following my instructions and suggestions while having fun playing all the pieces. When the exam date approaches, I usually have my students do mock performance, where I would be the examiner, and the students would go through all the steps of the exam. It gives them confidence and certainty when they do the actual exam.

You spent 5 years teaching in Jinan, China. Have you noticed any similarities or differences between the students and music education atmosphere in that area compared to here in the United States? How have they impacted your teaching?

In China, I would say the environment is more competitive. Parents generally compare their children with others, so it creates a situation where everybody wants to be “as good as” other people. In the States, students are more relaxed about learning the instrument. Parents here are more interest-oriented. It’s a big topic, and hard to say which one is better than the other, but as long as the students are enjoying it and learning from it, I think that’s good enough!

For me as a teacher, I would always like to talk to the student/parents about their learning goals. Getting to know the reason they are interested in having the lesson, and go from there together.

It’s always fun to hear stories from teachers about a memorable experience with a student. Is there a memory of yours that stands out in your life?

There are many stories that I can share, but one the comes to mind is of my student Kexin who didn’t really like the piano when he first started, but I kept encouraging him and playing songs while singing with him. I’d also play different pieces he was interested in from his books and let him choose his favorite - that way he knew how they sounded and he could be involved in the selection process. He gradually got more and more interested in piano music. Shortly after he became more excited to play, he even made a beautiful card for me on teacher’s day! It makes me happy and proud that I chose to be a teacher when moments like this happen!

Teacher Tram Talks About In-Person Lessons & Practice Time

 
Tram Square Headshot.png
 

You’ve spent a lifetime learning to play piano. What skills of your own made you an excellent piano teacher that you pass on to your own students?

When teaching my students, I always ask them to create their own story of the piece from the very first moment they listen to it. The more they practice, the more details they should discover about the story and based on that, they can decide what kinds of sounds they want to play for that music passage. I usually ask my students to listen and experiment with different ways of playing: There are always more than one way to play forte!

In order to create different sounds, they will then need to have proper technique and enough knowledge to interpret. So that is when practicing techniques and learning music history will be beneficial. 

Students often ask, “how long should I practice?” Knowing this is dependent on age and skill level, what answers do you usually give?

I always encourage my students to establish the habit of practicing right from the first lesson. They can start with just 10 to 15 minutes per day and build their time up, and keep up with the consistency. For me, I always think that practice effectively is more important. Students should set a goal for each time they practice, it can be just a small, difficult section that they try to overcome. At the end of the session, if they can accomplish their goal, that will be a good practice. 

Now that more and more students are returning to in-person lessons, what improvements do you notice with students who’ve returned compared to how they learned and practiced during their time online? 

I think my students are a lot more independent when it comes to reading. When doing online lessons, they need to follow the notes and dynamics on their own and that good habits transfer very well to in-person lessons. I also notice that they need to do the dynamics with more contrast so Zoom can pick up the difference, and that is what I always try to tell my students to do before.


Violin Teacher Luis Discusses How Great Performers Become Great Teachers and Experience as an International Performer

 
ViolinLuis
 

In addition to a decade of teaching, you’ve also performed internationally. What is your most memorable performance and what about that specific time makes it stand out to you?

During my undergrad, I used to play in a string quartet called the Klangfarben String Quartet, and we were invited to play in a music festival in Mississippi. I remember we played the American Quartet by Dvorak. It was such an inspiring and passionate performance, especially in the 3rd movement. I remember at the end of the concert an older woman approached me and told me that she was in tears during that movement. That was truly memorable and made me realize how magical music can be and the responsibility we as musicians have to inspire others to love classical music. 

We’re proud of a faculty built of teachers from all over the world. One of the interesting parts of music is how different countries have contrasting cultures and attitudes toward music. You’re originally from Honduras. Can you share some similarities and differences you’ve noticed between the music culture of Honduras and the music culture here in the US?

Unfortunately, the arts are not very well supported in Honduras. The degree in music just started a few years ago at a university level, that was one of the reasons why I chose to come to study here, and I don’t think there is a single full-time orchestra in the whole country which is a very big difference compared to the U.S. where there are many top symphonies and music schools. There are many talented kids in my country just as here in the U.S., but it is not nearly as diverse as the US which makes sharing music with people from all over the world an extremely unique and special experience.

A common problem in music is that sometimes a great performer is not always a great teacher. It can be difficult to take very high-level concepts and translate them into an understandable language for students. How have you managed to bridge the gap between performer and teacher?

I was so fortunate to have had such amazing and inspiring mentors since my beginnings as a violinist. I feel I had incredible guidance that has provided me tools to help and teach others. My own struggle as a student has been another reason. Having to find different ways to reach a goal or finding different practice techniques that help me improve my own playing and translated to others is another way I have managed to bridge that gap. And my previous experience as a teacher has also helped me incredibly because when you teach, you learn as well. 

Teachers have another life outside of just teaching and performing. When you have free time, what are some activities people might be surprised to know you do for fun?

I am crazy about soccer. I love playing and watching soccer games. Every weekend I follow La Liga from Spain and the Premier League from England. I also enjoy going to the movies, going for a coffee, and hanging out with family and friends.

Thank you, Luis, for sharing your time and experience in music! We’re proud to have you as part of our Opus 1 faculty!


Teacher John Explores Types of Guitars, Styles, and Performance Insights

 
John+Mausen+Square+Photo.png
 

Hi John, thanks for being part of our Opus 1 Faculty Spotlight. You’ve recently joined us this past month as one of our new guitar teachers. One of the interesting characteristics of learning guitar is not only the diversity of playing styles but also the ability to expand into other versions of a guitar (e.g. electric). Can you share what’s it like introducing these areas to beginning students within a path that lets them develop their own natural preference?

I generally try to keep both an acoustic and an electric in the studio as I teach. I also occasionally bring in a 12-string guitar so they can be exposed to that as well. That way if the student is interested in what any of these instruments sound like, I can demo them on the spot.

I also like to expose students to various styles of music in which each of these types of guitars is showcased. I keep an MP3 player on hand that has roughly 3,500 songs on it. I can call up multiple examples of how each of these individual instruments can shine in a particular genre.

I also carefully monitor not only the progress of the student, but I try to stay attentive to the particular style and artists in which they show the most interest. It’s also important to notice the style of performance towards which the student seems to be drawn. For instance, some students may be perfectly happy just strumming chords and singing pop songs for families and friends. Other students may be interested in learning the ins and outs of lead guitar in any number of genres, including rock, pop, country, blues, jazz, etc. Other students may be drawn more to the classical idiom. To that end, it is important to either a) listen to songs titles that they mention they might be interested in or b) take the time to ask them where their interest lies.

Having extensive experience as both a performer and a recording artist, I can make recommendations not only about what style of instrument a student might be geared for, I can also give them a great deal of information on specific models and effects that might enhance the experience for them.

Returning to the nature of the guitar having so many different version, can you share a bit about what sets different guitars apart from each other and maybe touch on how Ukulele fits into this spectrum? What kind of music sounds better and worse on which?

Being a performer, a recording engineer and something of a music historian, I’ve had extensive experience exploring the vast array of sounds that are available to today’s music student. There are some “tried and true” guitars that I would characterize as being somewhat formulaic and germane to a particular style of music. For instance, the Fender Telecaster has historically been the weapon of choice for the twang that country lead guitar players have sought over the years. To me, the Fender Stratocaster is perhaps the most versatile guitar on the face of the planet. That being said, nevertheless, there are some things in the rock world that a Les Paul or SG manufactured by Gibson can do that the Fender line can’t, just because of the nature of the electronics and the prototypical sound profile for which they were engineered. Then again, those players attracted to metal and extreme hard rock seem to gravitate towards the newer trademark names in the guitar building industry that have all the “bells and whistles” that players such as Eddie Van Halen, Joe Satriani, and Steve Vai use to get the effects to which they aspire. Some of the more notable brands are Ibanez, Jackson, Dean, and Charvel. These guitars feature “hot rod” components like locking vibrato arms and scalloped fretboards.

But that is not to say that the acoustic guitar, even the Spanish/Classical models don’t have a place in the rock, blues, country, or metal world. I’ve heard many high profile forceful guitar players use these instruments to achieve superb quality in the variation of their respective dynamics. Primary examples of this mode are players such as Stevie Ray Vaughn and Eric Clapton who use the acoustic for amazing sounds in the blues genre. Swedish Guitar Wizard Yngwie Malmsteen can shred just as poignantly on a classical guitar as he can on his signature Strat.

While the ukulele has traditionally been the ideal instrument for delivering Hawaiian slack-key music, these days I’ve heard many pop bands starting to include it in their repertoire of sounds. A few that come to mind are Bruno Mars, The Plain White Tees, Train, and Jason Mraz. It lends a texture over which any number of exotic sounds can be laid down. The Disney movie Moana, with it’s definitive uke version of “Somewhere Over the Rainbow” did a great deal to bring back the popularity of the instrument.

Another factor to consider when approaching the electric guitar is that there are as many kinds, flavors, manufacturers of amplifiers as there are guitars. Add to that the fact that now there are literally thousands of digital special effects (stomp boxes and multiple effects consoles) that can be used to manipulate sound from a guitar beyond all recognition. Even the guitar synthesizer world is getting up to speed and can be used with as much expertise as any keyboard player can muster. The array of sounds in the music industry today is absolutely mind-boggling.

All this being said, the current trend in the recording industry seems to be headed towards a movement in which none of the traditional rules concerning tones are beyond being broken. Just about anything goes in the studio anymore, particularly with the advent of the DAW (Digital Audio Workstation), in which sounds can be altered and effected with any number of plug-ins and other electronic signal altering devices. While many artists still stubbornly adhere to the axiom that “Analog still sounds warmer than digital,” more and more artists, myself included, have gone to recording “in the box,” meaning using a computer and some sort of software recording program such as Pro Tools, Logic Pro, Ableton, Reaper, and the like. These programs are more cost-effective and they are eminently faster to work with. So in that respect, there really aren’t any hard and fast principles concerning what instrument sounds better on any particular kind of music.

Myself, I keep 10 or more guitars in my stable of instruments to cover any sort of sound aura that I’m seeking for any particular tune. I generally lay acoustic tracks using both a mic’d signal to the console as well as the electric audio out from my acoustic electric and I mix and EQ the sounds accordingly. Most of the time I use my Strat or Tele to lay the basic tracks as they have the “good old Fender” reliable sound. If I need to track slide guitar I generally use a Gibson Firebird a) for its signature dark tone and b) for its incredibly long neck which enables me to get quite high in the upper register. For specialty work, when I want to go dive bombing I have a Ibanez SR Series with locking trem that enables me to bring lots of strange effects to the table. For amplification live I use a Blackstar combo on one side of the stage and a Fender DeVille on the other. This gives me the best of what is considered the two “worlds” of amp sound. The Blackstar has the British profile, a la The Beatles and The Who while the Fender gives me the California sound made popular by everyone from the old surf bands to blues masters like Stevie Ray and Buddy Guy. Although I use fairly minimal effects on stage, the dual amp stereo system allows me to “ping pong” a delay between the two amps across the stage, similar to what The Edge does in U2 and the sound is huge!!!

Many guitar students or people familiar with guitar often point out the use of a “pick” versus growing your nails out to serve the same function. What’s the difference and why when is one better than the other?

This is a question I get quite often and the answer to the second part of the question is “One is not better than the other.” While I have used a variety of picks with various thicknesses over the years, I have settled on Fender mediums for the silkiest sound I can get. However, one of the most famous guitar players in the world and a childhood hero of mine, Jeff Beck, simply uses his thumb. Someone asked him years ago why he doesn’t use a pick and his reply was, “I use to, but I kept dropping them.” However he went on to say that he felt using the flesh of his thumb over the years helped him to hone a signature “touch” and made his playing somewhat more sensitive and organic. If a student wants to play with their thumb, nails, or just the flesh of their fingers, I don’t see anything wrong with it if they can generate a tone that they are happy with. In truth, though I use a pick, I often employ additional strokes with a couple of the fingers on my picking hand. I’m also a pretty big fan of traditional American Travis fingerstyle picking. I know many classical guitarists that are absolutely fastidious about their nails, and it has shown proven results. I say do whatever works for you.

In additional to extensive experience teaching, you’ve also performed and recorded countless concerts. How does your own professional guitar performing help you as a teacher and what suggestions do you have for students on learning to perform themselves?

My most important suggestion runs fairly counter to the way I developed my own career. For years I played in cover bands (copying popular music) and felt it imperative to try to get as close to the original as I possibly could. In a way that aided what my style is today, as I covered a very diverse catalog of music and tried to take a little from every player I listened to. But at this juncture in my career, my advice to any student is to simply be yourself. Develop your own voice (whether that be literally--singing, or your voice on the instrument). It’s ok to try to come as close as you can to the music by which you are learning a technique, but the progressive student will take each of those techniques and create something of his or her own that is unique to them.

One related piece of advice I have is that if you can sing, by all means, do so. I tell all my students that the first job I got as a professional musician had nothing to do with the quality of my guitar playing. At the age of 17 I was a passable, somewhat mediocre rhythm guitar player who was scared to death to play any lead. But the band that hired me was far more interested in my ability to sing and harmonize than my strength (or weakness) as a guitarist. If one is looking to begin a career in music, someone who can sing and/or knows a little bit about music theory and harmonization always has an advantage over someone who is simply a guitar player, unless they are some kind of guitar virtuoso.

The last thing I would say about performance is that in addition to ability, much of performing is simply a matter of attitude. Stay practiced up so that you are confident. But it’s important to not be overconfident. Some of my worst performances were when I went to the gig thinking “I got this.” By the same token it’s ok to be a little bit nervous. Music should make us excited, after all, it’s emotional. I’m not encouraging stage fright, but a little bit of adrenalin facing an audience that you are unfamiliar with can go a long way towards keeping you focused and sharp. Last of all, value your audience. Chances are they paid money or at least gave of their time to come and see you. Let them know that this is important to you by treating them with respect and giving the best performance that you possibly can. I don’t mean that your gig has to be perfect in execution. I just mean that if you make the music come alive and speak to the people on an emotional and maybe even an intellectual level, they will realize your talent and your gig will be a success for both you and them. To me, that’s a win/win.

Break a leg!!!


Teacher Yuri Compares Teaching Group & Private Students, and Learning in Both China and the United states

 
teacher-yuri
 

Hi Yuri, thank you for taking the time to be part of our Faculty Spotlight! You’ve been with us now at Opus 1 for over a year and been teaching both private piano lessons as well as teaching group classes. How does teaching private lesson students compare to teaching group class students?

Private students are older and they can focus longer; most of their parents are very serious to help their kids finish their weekly homework. When I teach private lessons, I will create goals that can motivate them to practice. For more advanced students, private attention is needed to work on micro issues such as fingering, as well as finer points of expression and interpretation.

On the other side, group class students are younger. But it’s a good way to start their music adventure in group lessons which offer plenty of time for varied activities, let the students enjoy music and learn some basic music knowledge.

What advice do you have for students who’ve finished group classes and would like to start private lessons?

Progress is almost always faster in a private lesson than in a group lesson. Private lessons focus on the individual’s strengths and weaknesses. Piano is a complex activity requiring learning by ear, eye, touch, and intellectual understanding. Each student combines these elements differently. After group classes, students and parents feel more comfortable in private lessons. A main difference is that students need more practice than the group lessons. Young kids might feel frustrated when they practice a new song. In this case, parents will play an important role. Be more patient to your kids!

Before joining us at Opus 1, you earned degrees in piano performance in both China and the US. You studied at Xinghai Conservatory of Music in Gunagzhou before studying piano performance at the San Francisco Conservatory of Music. What differences and similarities did you notice studying piano at these different schools?

I earned my Bachelor degree at Xinghai Conservatory of music, China. My teachers from China all presented different perspectives on teaching from hand-shape to learning environment, and specific ideas about teaching methods. Their ideas, while similar in some cases, are all unique and impressive, bringing up very important points in piano lessons for children. And I was so lucky to come to the United States and finish my Master degree at San Francisco Conservatory of Music. Having a US Piano teacher gave me two different points of view for piano teaching. This is very helpful both for teachers and students to consider in the process of piano study. They made some comparison between adults and children, and also compared materials from older times to more contemporary materials. Both contributed very valuable points of view for music educators to consider.

Every professional musician and teacher has their own inspiration for going into music. Can you share what inspired you to pursue music in your own life?

I fell in love with music as a young kid. I chose to pursue music so that I could share its beauty and my own passion with others. When I was young, all my friends began to learn an instrument, most of them just pick an electric keyboard. But my parents decided to buy a piano as a gift for me. It’s a huge instrument and I fell in love to explore the piano. And piano and music become a part of my life that I can’t give up!          

Recitals are quickly approaching. What recommendations do you have for our Opus 1 students to help prepare that you’ve used in your own practicing and preparation for a performance?

Before the recital, I will say, a speed slightly slower than the performance speed. This speed allows for accurate practice without picking up unexpected bad habits and creates a clear picture of the music in the mind. Also, try to practice musically. And if time allows, then set up a performance preparation routine. If you can, do a bit of advance work, looking through your teacher’s notes. That can help you further develop the particular skills you need and improve your performance!


Teacher Yamila Shares Her Time at Peabody Conservatory and Experience with Musical Theater

 
yamila.png
 

Hi Yamila, welcome to Opus 1! You’re a new member of our faculty and we’re excited to have you joining us. Can you share a little bit about what brought you to Opus 1?

I joined because of Opus 1’s standard of excellence. I’ve long known about Opus 1 and admired everything about how they operate, which is why I’m proud to be a new member of the faculty here!

You graduated from the Puerto Rico Conservatory of Music, co-founded by Pablo Casals - one of the most influential cellists of the 20th century, whom you worked with while a student; and also earned your Master’s degree from Peabody Conservatory, known for its many Grammy Award winners, the Peabody Award, and several notable faculty. Can you share what your experience was like studying at these prestigious music schools?

I was very fortunate to be able to work with big figures at both institutions. In Puerto Rico I worked with Jesus Maria Sanroma and Luz Hutchinson in the piano department and I benefited from other big music figures such as the Figueroa family in chamber music and the opera department. Their legacy left in me an everlasting deep inspirational love and devotion for music and music education. Don Pablo Casals directed the choir of the Conservatory himself when we performed his beautiful master work “El Pesebre” in The Casals festival. This was his last performance of his beautiful choral piece written in his native Spanish language “Catalan”, for soprano, choir and orchestra. The Casals festival would bring the highest world-wide recognized music figures from all over the world every year, and students had the fortune of this inspirational educational experience.

I worked at Peabody with Ellen Senofsky as my piano teacher, a graduate from UC Berkley and Fulbright Scholar in Europe where she was the accompanist for the great violinist Zasha Heifets. I worked for years with Mrs. Senofsky in chamber music and accompanying classes as well. Accompanying class was of the most valuable classes I had at Peabody as a career pianist today. I benefit from other great music figures such as Leon Fleisher’s weekly piano master classes,  Berl Senosky’s chamber music and others.

In addition to your time teaching private lessons, you’re also Music Director for the San Carlos Children’s Theater, where you teach musical theater and accompany. As a classically trained concert pianist, can you share similarities and differences between classical and musicals and what draws you to this side of the arts?

Musical Theater is where several art segments intersect: acting, music, dancing, and visual arts, which come together on stage at once while also using technology. Musical theater is fascinating! Musical theater took a more serious route in music with composers such as Leonard Bernstein in his “West Side Story.” Some musical theater scores are as difficult or even more than classical works. I wouldn’t have been able to accomplish my career in music theater without my training as a concert pianist.  

Sometimes our students forget that their teacher was once a student also with the same expectations, pressures, and challenges that they have now. Can you share a skill that you learned as a student that was challenging and advice for our Opus 1 students on how to overcome their own challenges?

Practice ~ Practice ~ Practice!!!  Everything in life is work, practicing has to come from within and practicing will develop your love and devotion for music as well as your ability.

Can you share your most memorable performance and what about that performance made it so memorable?

It is hard to recall my most memorable performance. Many different performances come to my mind since my youth until my most recent performance, which was met with nice newspapers review. During my last years in Sonoma County I was performing constantly as a pianist and accompanist, I had the opportunity of playing chamber music with principals players from the symphony as well as with principal string players from different symphonies in the Bay Area.  

As a pianist, I performed in a piano duo team as well as with orchestra. I was part of the Sebastopol Center For The Arts Music Committee and we produced and performed different productions every year including the “Messiah Sing Along” with the community which I was the pianist for. Music Theater was the highlight in my career these days.