Our instructor have a lot of experience with total beginners, and know how to guide them through to an advanced level.
We have a large group of adult students that enjoy weekly lessons with us.
Great Instructors “a great school is just an amazing group of teachers.”
In our hiring process, we filter hundreds of prospective instructors in search of the qualities that make a great instructor. There are four qualities we are looking for. The first is a strong, positive personality. This is just essential to keep you excited about music, and engaged during the lessons. Secondly, we look for the instructor’s ability to create intelligent, achievable goals, that are customized to your needs. Great teachers will help you learn the techniques and skill you need, but do it though the music you love. Thirdly, a great instructor is intuitive. They have the sensitivity to know if what they are teaching you is being understood, and if their delivery is effective, (Keeping the energy and excitement high). Finally, we look for outstanding educational credentials. Our instructors possess degrees from some of the finest music schools in the world, places like Juilliard, USC, Berkley School of Music, Indiana University, and Royal Conservatory of London.
Students can regularly interact with pears by participating in our recitals and masterclasses, consistency you can’t get from a small private music studio. We offer approximately ten recitals per year for a variety of ages and levels, and even an adult recital. At these recitals and masterclasses, we offer achievement rewards such as certificates, metals, and trophies.
Recitals we Offer
Angeles Academy sets itself apart with the highest caliber performance opportunities in leading venues around Los Angeles, such as the Beverly Wilshire Ballroom, (Four Seasons), where such events as the Emmy’s are held, as well as the BP hall at the Disney Center. The rare opportunity to perform in these world-class facilities increases student recital participation, preparation, and results.
Violin is the third most popular instrument for beginners. The violin is a beautifully expressive instrument, similar to the range of the female voice. It may be argued that it is the most similar instrument to the singing voice because of the enormous control, both dynamically and in tone and color. It is small and compact, and unlike other instruments, can easily be taken along for out of town practicing. Because the music for violin is written on a single line, it is generally easier to learn to read on the violin, compared with say the piano where two lines are required for the two hands. The versatility of the instrument is one of its great strengths, it is incredible as a solo instrument, but also blends beautifully with other strings making it a great ensemble instrument. A violinist can enjoy playing with others, whether it’s a band, a string quartet, or even a full orchestra.
Usually age 5 and up. The question is challenging to answer because it depends on so many factors. If there is a real genuine interest, how much practicing is done at home, and of course a natural affinity for the instrument or not. Young students should be gently encouraged to practice with an emphasis on keeping it fun.
There is no set answer of how long it takes to learn. With regular practice a basic level of playing can be accomplished in a few months. Most of our students take lessons on a long term-basis because they want to be constantly improving and they find the lessons enjoyable. The best results are found with consistent practice and performance goals. To see great results, at least a year commitment is needed.
This is a question we frequently get from adults. We believe that it’s never too late to learn anything, and feel that in fact adults have some advantages that can help them learn faster. For example many have a more refined ability to understand the instrument intellectually, and typically a longer attention span. Our violin teachers really enjoy working with adult students
Rest the violin on your collarbone and support it slightly with the left hand, and the shoulder. Next, gently rest the side of your face on the instrument to add a little stabilizing weight.. Make sure your violin is held parallel to the floor. Because the left hand must move somewhat freely up and down the neck of the violin during performance, it is best if not too much support is required from the left hand. Practicing letting go briefly of the left hand can help ensure that your shoulder collarbone and head are really doing most of the work to support the instrument. Walking around a little while holding the instrument can help train you to be more comfortable. sliding the left hand up and down the neck will help prepare you for the next steps.
Practicing a good bow hold is crucial to good sound production. A good bow hold is controlled, yet flexible. Place your right hand on the bow, with your thumb, slightly curved, gently inside the frog, (the cutout just before the hairs of the bow). Lay the remaining finger over the top of the bow, slightly spread out. Curve the pinky slightly and place it near the end of the bow, on top, in a way that it can control the tilt of the bow. It takes some practice for the pinky to get used to controlling the tilt of the bow, and to be well balanced. The bow hold should never be squeezed. Next, when drawing the bow across the strings, make sure that the shoulder is low and relaxed, and that the joints of the elbow and wrist are interconnected. The bow eventually should feel as an extension of the arm, rather that separate.
Sight reading is an important skill for any aspiring musician. To begin, students are taught about treble and bass clefs, (different ranges), and to identify notes that are on the lines, and notes that are in the spaces between the lines. To remember the notes on the lines, students learn phrases such as, “every good boy does fine” The first letter of each word are the notes on the lines of the treble clef from bottom to top. E, G, B, D, F. The notes that are in the spaces between the lines spell the word “Face”, F, A, C, E. As students become faster at identifying these notes based on these simple phrases, the phrases wear off and they simply recognize the note for what it is. In addition to identifying notes, sight reading includes understanding rhythm. Rhythm is differentiated in notation by notes filled in or empty, and with different stems and beams. These indicate different speeds of notes. Even the most accomplished musicians can often improve their sight reading. More advanced training involves pushing speed and looking ahead, and through creating progressive goals.
Music theory teaches us how recognize and identify patterns across all music. It is fascinating because it starts to bring together a clearer understanding, and patterns once complex become simple. Imagine a complicated math equation that actually has a very simple answer. Learning theory involves a mixture of ear training, (the ability to identify harmonies and melodies), as well as identifying and labeling these patterns on paper. Harmony is seen in notation vertically, and is often what might be described as the background in which a melody is set. Harmony consists of chords, (3 or more notes heard simultaneously), and can be Major, Minor, Diminished, and several others. These differences in sound are often described emotionally; happy, sad, or scary. The beginning of music theory training might involve identifying the difference between a couple of these chords. Ultimately, advanced theory students are able to write out the music they hear, and to analyze harmonies and melodies in musical scores. A full grasp on the structure of music can take years to develop.
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