French Style Ear Training /Fixed DO Solfège Course by Highly Trained, Experienced, Caring and Demanding :) French Conservatory Professor

Beautiful Rhythm is both precise & expressive. For the musician, it needs to be clear in both the mind & the body. Whether you are a beginner or a professional seeking help, I will be here for you. I teach the theory of rhythm and its practice. I can provide an all-encompassing progressive approach, or some training on a specific music piece (provided the piece really is at your level). Basic rhythms, or complex rhythm found in music from the Renaissance to contemporary classical music... anything can be addressed. Again, Rhythm needs to be clear in your mind and your body, therefore the lesson will be tailored around you and the score. My students often tell me I am very patient. I'd rather say I am understanding and straightforward. Actually, please know that I am also demanding: While there is no difficulty that I cannot understand, (and I found it thrilling to find a solution when the student seems stuck) yet I am not interested in approximation. If after reading this, you are still interested, please drop me a line! I am here to share my passion with you! Sincerely, YOUR Prof. PS: I use fixed DO solfège (French way), but if you don't that's okay! All levels (from beginners to graduate students and professionals). All ages. Lessons last 45 minutes (at least). When am I available? Please drop me a line and we will try and find a time for you.

Music is a passion. Teaching is another. It is therefore my responsibility to share the first while satisfying the second. :) TEACHING... it's a beautiful human adventure where we learn, where we instill, and even where we advocate things. In doing so, we cannot escape our musical and human values. What does a very good teacher accomplish? What qualities (musical and human) are necessary to make a teacher a very good teacher? What is good progress? What are the steps to remember when training a student's ear? What are the steps not to be omitted in the transmission of rhythm? How can we really help students read notes well? How to develop virtuosity? How to make a correct diagnosis? What is the place of music theory, technical exercises, etc.? These are a lot of interesting questions... I will be very happy to help you and share the results of my research and my practice as a music training teacher, teacher. organ, and chamber music, whether on a specific point, or to develop an entire program. I talk about what I know and what works with the students. If you want something that works in practice, then I've got you covered! This is what I am passionate about and what I like to share. On the other hand, I do not specifically prepare for teaching competitions. I also do not wish to lock myself into lunar discussions which have no practical outlets... Looking forward to sharing with you, FM

All levels (from beginners to graduate students and professionals). All ages. When? Please drop me a line and we will try and find a time for you. Listening to several voices at once certainly is one of the most rewarding skills a musician can have, or can acquire. And, no, this is not only for those who are born with this gift. If you listen to music without being able to discriminate precisely the different layers of sound, you already know music is beautiful. I was like that a couple years ago. (Well, provided my gray hair, it must actually be many years ago). I can surely say that being able to listen to several voices at once has brought me much joy! Music became absolutely wonderful! When you can precisely hear the various voices, then you become aware of all the notes that are played, as if some nice new lights were shed on the music. Not only can you enjoy the music more, but as you play you can now shape all the voices in the best possible way, or if you play a duo for instance, you can be sensitive to the way the other musician plays, and musically respond to his or her interpretation. As a musician, that is a life-changing experience, a “must!” That can be learned, slowly but surely, with method. Now, when I say slowly but surely, I talk about mastery. But if we are talking about being able to listen for the first time to an additional note at once, this is usually quite quick (I'd say one lesson, two weeks at most). So, what can we work on? Harmonic intervals, recognizing chords, discriminating notes within a 4 voice chord or aggregate (i.e. hearing the precise voicing of an isolated chord), learning to listen to counterpoint precisely, you name it. That should be based on where you are at, and what you would like to achieve. Anything is possible. Let's talk about it and get started! Although perhaps you want to know this first: My students often tell me I am very patient. I'd rather say I am understanding and straightforward. Actually, please know that I am also demanding: While there is no difficulty that I cannot understand, (and I found it absolutely thrilling to find a solution when the student seems stuck) yet I am not interested in approximation. If after reading this, you are still interested, please drop me a line! I am here to share my passion with you! Sincerely, YOUR Prof. PS: I use fixed DO solfège (French way), but if you don't that's okay!