Call or Email me for further information about lessons!
I look forward to hearing from you ! (410) 446-5109 / Lh.email@example.com
"Many of my students have gone into professional music-- recording, performing, and teaching -- others have continued to savor music as a lifelong, passionate pursuit...they all have had my admiration..and undivided attention..."
--I played various styles: acoustic solo; as part of an acoustic duo with bass player and / or harmonica player, performing blues, folk, country, and original material.
--I also played electric, with a band, (rhythm section plus harmonica )
--in Baltimore, I played in blues and rock bands.. usually party and club dates
---I began playing jazz dates with small groups in the 1970's
---Former educator at the Peabody Conservatory of the Johns Hopkins University
-----Co-chairman of the Preparatory Theory Department /All levels of music theory: From basic scales, intervals, and triads, to creation of fugues and sonata form works.
--My students— former and present—include professional musicians now performing, composing, recording, and teaching and throughout the United States.
$70 an hour / $35 a half-hour
___CHORDS---- I teach a thorough understanding of chords, from the simplest to the most complex-- with all voicings and resolutions, as well as how to build and implement them in all keys and progressions.
____SCALES -- I teach all scales and modes, from the most basic major, minor, blues, and jazz variants to the more obscure and synthetic , and how to implement them in leads, fills, and improvisations.
____ARPEGGIOS .. how to make melodies from the most simple to advanced chords throughout the fingerboard.
____PICK TECHNIQUE .. how to effectively use a flat-pick in various styles, from folk to jazz.
____FINGER PICKING TECHNIQUES.. as used by the great blues, folk, and ragtime players.
____LEFT HAND TECHNIQUE — exercises to create strength and flexibility in the use of the left hand.
____MUSIC THEORY — A fascinating, easy-to-understand study of all aspects of Music Theory as taught in the leading music conservatories in the fields of jazz, classical, and folk music.
____ EAR TRAINING / SIGHT SINGING / RHYTHM TRAINING—You have to hear it before you can play it! essential elements of musicianship as offered and required in the nation’s most prestigious music schools.
I have been playing and teaching professionally for over forty years.
After playing professionally in San Francisco and Cape Cod as a self-taught folk, blues, country artist, I returned to Baltimore and was sought-out by players who approached me for lessons. I analyzed how I had taught myself, and came up with a unique system of chording, along with finger-style techniques.
My subsequent jazz studies with Dennis Sandole, the teacher of John Coltrane, Pat Martino, and Jim Hall— among many other jazz giants— added sight-reading / exercises for both left and right-hand / a scale-system covering the entire neck / an additional, advanced chordal system / and an approach to jazz improvisation, as well as an introduction to all aspects of music theory including extensive work in areas of ear-training and sight-singing.
I later earned a Bachelors and Masters degree in Theory and Composition from the Peabody Conservatory
When the Peabody hired me as faculty, my duties encompassed guitar instruction and all levels of music theory. I was soon appointed co-chairman of the preparatory theory department there.
As creator / director of a new jazz department, I founded the first jazz ensemble at Peabody, while teaching jazz improvisation, and music history (classical, blues, and jazz). During that time I also taught courses at the Johns Hopkins Evening College, Johns Hopkins University, and Goucher College Center.