![]() Your lessons will include sight-singing preparation, ear training preparation, and basic keyboard skills that will give you the best chance of being accepted into these choirs. Without elite musical training, it is very difficult to pass the auditions for these ensembles. ![]() Advanced music theory and keyboard skills.Ĭhoir auditions in Boulder and around the United States are incredibly challenging - from elementary school all-state choirs to middle school, high school, and adult community choirs.Because of timing, the recital may be scheduled during the following semester. Students in the Academy will be able to perform at a professionally recorded recital at the end of the semester. This is a very special thing! There will be at least one major masterclass per semester. There will be opportunities for the Academy students to have masterclasses with these industry-leading professionals. I have also worked with many internationally recognized directors and casting directors who will be featured in Masterclass. Many of my peers are now working as performers on Broadway, on National Tours, on the international opera stage, and as recording artists. Access to Masterclasses with leading performers in the industry.īecause of my professional singing career, I have worked with some fabulous performers.This has many benefits, but a dedicated weekly lesson time will lead to more extraordinary advancement for the student. In the past, scheduling a lesson was first come, first served. You will get a dedicated time slot for your weekly lesson.For any player therefore wishing to benefit from the many advantages that good teaching can bring to them I would have no hesitation in beating a path to his door. Real talent as a teacher is something not given to everyone but it has been given to Peter. That was my experience and I think it highly likely that it will be yours as well. My experience of taking lessons with Peter was of a shrewd investment which fundamentally improved my playing. Peter has the ability to sort these kinds of problems out and he sorts them out creatively and constructively in a way which always seeks to find the good in what you're doing by turning what were stumbling blocks into positive additions to your experience as a player. Or, the classic, sometimes you can play a piece well but other times not and each time you start the piece you have no idea whether it will be one or the other or why it is that you have no real control of the performance. Either that or lacking guidance, fall into bad habits which practice simply reinforces and which are then very difficult to correct. For any guitarist at any level, the benefits of a good teacher are tremendous it is all too easy, as I know myself, to reach a plateau where you can kind of play lots of things but nothing really well. ![]() This combination of technical analysis with musical sensibility I found inspiring and it propelled me to levels in guitar playing, which I would never have dared to attempt otherwise. Peter's teaching practice, therefore moves on a broad front where the inevitable technical challenges involved in playing the guitar are combined with musical insight and encouragement into what is to be gained by overcoming them. He then backs that up with an acute ability to identify and analyse technical problems and how to deal with them. Peter has many talents as a teacher of which for me the most important is that he wants you to succeed. I can recommend Peter unreservedly as an exceptional teacher with a rare breadth of experience of the guitar in all its genres combined with an equally rare equivalent breadth of musicianship and scholarship. ![]() I have been a student of Peter's for a total of seven years spread over twenty-five years, first of the classical guitar and latterly of the baroque lute.
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