Available Tutoring Topics and Teaching Philosophy

Undergraduate Aural Skills/Ear Training

Sight-Singing
Rhythm/Meter
Harmonic Dictation
Melodic Dictation

Fundamentals

Rhythm/Meter
Pitch, Intervals, and Scales
Key Relationships
Basic Counterpoint
Function

Undergraduate Part Writing and Harmony

Undergraduate Part Writing and Harmony

Voice Leading
Harmonic Analysis
Harmonic Function
Figured Bass
Chordal Function
Modulation

Non-Traditional Analysis

Undergraduate Part Writing and Harmony

Serialism
Minimalism
Pitch-Class Set Theory
Atonal Dictation
Impressionism

AP Music Theory

Sight-Singing
Fundamentals
Melodic Dictation
Harmonic Dictation/Analysis
Figured Bass

Academic Writing

Analytical Essays
Basic Research
Writing to Strengthen Analysis

Form and Analysis

Form and Analysis

Form and Analysis

Large-Scale Form
Small-Scale Form
Model Compositions
Analytical Essays

Teaching Philosophy

The traditional music theory sequence can provoke challenges in communicating a present and real connection between harmony and real-world musical experience from the student perspective. I aim to bridge the gap between classroom content and real world applications of music theory by incorporating more diverse music literature and attempting to vary the types of activities and assignments to imply relevant and thought-provoking material while providing support and commitment to all students and learning types.

In my experience, positive attributes of a successful aural skills and theory professor include an undeniable confidence in the classroom while simultaneously providing a sense of support, community, and approachability pointed primarily at student success. These instructors possess a vast knowledge of the material and its related topics, a versatile and diverse method of communication, a well-rounded personality, and, as a bonus, a sense of humor!

My main role as an instructor is largely based on my ability to communicate the material clearly and effectively while holding students to a consistently high standard. I want to convey a sentiment of responsibility, self-discipline, kindness, and compassion towards my students in their development during the tenure of their coursework. One cannot become an instructor without having been the student.

By the end of the undergraduate degree, students should have a strong establishment of music theory and aural skills in regards to traditional, Western-art music, as well as examined 20th century techniques, post-tonal music, atonal music, and written about a multitude of topics utilizing fluent musical and appropriate terminology. Students should also have a firm understanding of aural skills techniques, dictation, voice leading practices, complex harmony, form, and function. In addition to these developed topics, students should reflect a strong and reaffirmed comprehension of the fundamentals of music theory. Successful students would have examined repertoire from a wide variety of periods, genres, and styles. This progression of topics combined with knowledgeable and confident instructors has an undeniable possibility to produce well-rounded and successful musicians.