Q & A with Dr. Yifan & Listen to His New Album

Meet Dr. Yifan, a Distinguished New Mozart faculty. He received his DMA from Iowa University and MM from Manhattan School of Music. Scroll down to listen to his recently released album.

1.   How old were you when you started taking music lessons and which instrument did you start with?

I started my first piano lessons when I was five years old in my hometown in China. Before I was formally introduced to the piano, I had a strong interest in keyboard instruments and classical music. At that time there was an electronic keyboard in my room, and I would try to reproduce the melodies and harmonies I had heard and play it on my keyboard without any sheet music. It was this keen interest that made me and my parents decide to start my professional piano studies.

2.   When did you start taking music seriously and who/what inspired you to become a musician and music teacher?

I started my more formal and serious piano studies at the age of five with a very authoritative piano teacher in my hometown. I completed the highest level of the piano proficiency exam in China at the age of 11 with excellent grades. In addition to my own interest, my mother has given me tremendous help and encouragement during my piano studies. As a local music teacher, she fully understood my love for piano and provided me endless financial and emotional support.

3.   Tell us about your musical and teaching background.

As a piano performer, I was admitted to the Tianjin Conservatory of Music (China) in 2011 with the first place in piano major, won the first national scholarship for four consecutive years and obtained my bachelor’s degree with merit. I received the Master of Music degree in Piano Performance from the Manhattan School of Music in New York City in 2018, where I studied intensively with Steinway artist and Grammy Award nominee Dr. Joanne Polk, and held two successful solo piano recitals in New York City. I completed my D.M.A (Doctor of Musical Arts) at the University of Iowa in May 2023, and released a solo piano CD at the same year, premiering solo piano works by Ignaz Moscheles, which were well received by my professors in UI and the public. During my studies I gave four solo recitals and six chamber music concerts in Iowa City, and also been involved in various public performances, such as charity concerts in hospitals, nursing homes, churches, museums, and local government institutions.

As a piano educator, I have accumulated over eleven years of extensive teaching experience, having spent long periods of time at the Rome Piano School in New York City and at Kirkwood Community College in Iowa, effectively and professionally teaching piano students of all ages, from young children to college students and adults, and helped them develop an interest and confidence in playing piano through approachable and creative teaching methods.

4.   What do you hope to achieve in teaching students?

As a piano teacher, I sincerely hope that my students will get pleasure and satisfaction from learning piano, and not just as a task to be completed.

Music is something to be enjoyed and perceived, and only a deep desire and willingness to learn will lead to continuous progress. Therefore, I will do my best to cultivate the passion and interest in piano music through different ways according to the personality of each student.

Secondly, passive learning is usually not the best way to go. I want to guide students to have their own perception and independent thinking about music. I will try to ask more questions in lessons and lead the students step by step to find the answers and to memorize some fundamental knowledge through their own analysis. The role of the teacher is more to guide the student through the right path to acquire the professional skills that will empower them to explore their own musical journey.

​​Finally, a solid foundation is the cornerstone of any learning process. I will work hard to provide students with a good foundation in the beginning in terms of hand positions, seating requirements, and basic music theory, so that they can be more comfortable and make faster progress in more in-depth studies later on.

5.   What do you love most about teaching?

I enjoy teaching piano and working with my students. Having been a piano student for over 25 years, I hope to share the experiences and methods I have learned with my students so that they can have a more professional and effective learning environment. Teaching is also a mutually beneficial process in which I can enrich my own musical knowledge through my students' perspectives and insights. More crucially, seeing my students' excitement about their progress, their growing love for piano music and their proficiency and confidence in playing is the most delightful and heart-warming thing in my teaching process.

6.   Do you have a practice tip you want to share with our students?

Definitely! Although a lot of practice is the most important way to progress and improve your piano skills, it is also crucial to use your time more wisely and to practice in a more efficient way.

First, slow practice does not mean it will take up more time, but will help us maintain an accurate and consistent beat while paying more attention to the details in the music. Secondly, it is important to have a detailed and realistic plan before each practice session, such as goals to be achieved or problems to be solved, and try to stick to those goals during the practice. Finally, practice sessions should not be too long. I recommend taking a five to ten minute break after every half hour or one hour of practice to ensure that your body, arms and wrists are relaxed.

7.   What do you enjoy doing when you’re not teaching, practicing, or performing?

Besides piano, I also like photography, swimming and traveling. I enjoy exploring more different places, landscapes, cultures and music. In my spare time, I also love to compose and produce electronic music by using DP9 and Logic Pro, and I already have some original works that lean towards electronic and jazz styles.

---

Dr. Yifan released a piano solo CD last month, and premiered several piano works by Ignaz Moscheles. Here are the links to the mp3 files:

Les Charmes de Londres, Op. 74 (1827)

1. Les Charmes de Londres, Op. 74 (7:10)DOI: https://doi.org/10.25820/e2xy-7k03

Rondeau expressif on a Favourite Theme of Gallenberg, Op. 71

2. Rondeau expressif on a Favourite Theme of Gallenberg,Op. 71 (7:34) DOI: https://doi.org/10.25820/561a-p513

Variations on a Theme of Handel, Op. 29 (1814)

3. Variations on a Theme of Handel, Op. 29 (9:10) DOI: https://doi.org/10.25820/zpyf-jp97

Fantasia Brillante on Themes of Benedict’s Opera “The Bride of Venice”

4. Fantasia Brillante on Themes of Benedict’s Opera “The Bride of Venice” (9:27) DOI: https://doi.org/10.25820/rm8v-x528

Airs from the Grand Opera of Fidelio, Book II (1830)

5. Overture: To the 2nd Act (4:09) DOI: https://doi.org/10.25820/qrfm-d491

6. Florestan’s Air (4:55) DOI: https://doi.org/10.25820/zc9f-1x75

7. Duett (4:59) DOI: https://doi.org/10.25820/fe7k-k747

8. Terzett (5:35) DOI: https://doi.org/10.25820/4ayp-n444

9. Duett (2:37) DOI: https://doi.org/10.25820/rrwy-eq93

10. Finale of the 2nd Act (2:02) DOI: https://doi.org/10.25820/x1da-tx51

11. The Final Chorus (3:49) DOI: https://doi.org/10.25820/eznp-6v29

Meet Teacher Maria

Meet New Mozart’s amazing new teacher! Maria teaches voice and piano currently and will also be teaching Songwriting & Harmony Road classes starting next semester.

Teacher Maria is a singer/songwriter born and raised in Cali, Colombia (Latin America). She came to the US to follow her passion for music and graduated Cum Laude with a Bachelor’s in Music Industry from The College of Saint Rose. Growing up, she won various singing competitions and was an opener for big music festivals in Colombia. Now, under the artist name “Ria Carval”, Maria’s debut album “Ignorance” has more than 57k streams and her main singles have reached radio, blogs, magazines, newspapers and TV appearances worldwide. Her vocal training is very diverse after experiencing classes with remarkable opera, gospel, musical theatre and even rock singers. She also learned piano at a young age, was trained on jazz and contemporary piano techniques and it is now the instrument she uses to write songs on the daily. After being a music educator for almost 3 years, Maria has discovered a passion in teaching children the magic and welcoming nature of music. In everything she does her purpose “Feel To Heal” is what makes her a great teacher. “I want my students to learn that feeling is ok, and music can become a place for them to dream, grow and embrace their uniqueness and potential”.

Q & A with Teacher Marcia

Teacher Marcia with her student Avni at the New Mozart Honors Recital 2020 on March 1, 2020

1.   How old were you when you started taking music lessons and which instrument did you start with?

I started taking piano lessons when I was seven years old, however my mom noticed my interest in music at a much earlier age. She told me that when I was three years old I insisted on having the music of J.S. Bach played during my nap time to help me fall asleep. She contacted a teacher who was on the faculty of the SF Conservatory of Music who said to wait until I was seven and had learned to read in school before beginning lessons. It’s too bad Harmony Road didn’t exist at that time, because studies have shown that music can become a “first language” for children who take lessons at an early age and there is a greater likelihood of them developing perfect pitch.

What I developed instead was the ability to sight-read, because my teacher had me read through a vast amount of piano literature, including 20th century composers (which was great), but because I couldn’t always relate to the music, I began to lose interest and when I was eleven, wanted to quit. Just about that time, we moved out of the Bay Area and my new teacher, who had an MA in classical music, but also played jazz and pop, allowed me to expand my repertoire beyond just classical and also encouraged me to play by ear and compose. Thankfully this broader and more flexible pedagogical approach renewed my love of music, and kept me going through the middle school years. 

2.   When did you start taking music seriously and who/what inspired you become a musician and music teacher?

I began taking music seriously when I was in high school. My middle school teacher had moved, and my new teacher encouraged me to learn more difficult pieces, such as Beethoven sonatas and Chopin nocturnes, and taught me how to practice in a way that I could begin to master them. However, it wasn’t just learning practice technique that helped me progress, there was an emotional component at work as well: I could feel that this special teacher in my life really believed in me as a student and cared about me as a person, and I think this is what motivated me to challenge myself to become a better pianist, to the point that in my senior year of high school I was asked to play a Beethoven piano concerto with the school orchestra.

Regarding becoming a music teacher, I was in my twenties, married and raising a family while working on my BA as a piano performance major at San Jose State University when a teacher who was moving out of the area offered me the beginning piano students from her studio. After a short time of teaching, I realized I needed some guidance and joined the Music Teacher’s Association of California, which gave me a wealth of information through its syllabi, graded repertoire lists, practice tests and Certificate of Merit Program, which many of my students took part in and had success with.

3.   Tell us about your musical and teaching background.

After receiving my BA, I went on to get my MA in piano performance at Dominican University where, along with preparing two solo recitals, we were required to take chamber music classes and I learned a lot about ensemble playing and discovered the joy of playing with other musicians in piano trios and quartets.

After graduating, I was hired by Santa Rosa Jr. College to teach piano, and several years later, by Dominican University as an adjunct professor. During this busy time in my life, I also served as pianist for the Napa Valley Symphony for several years, accompanist for various choruses, and was given the opportunity to play concertos with local community orchestras. I found the latter to be both exhilarating and stressful (especially when the orchestra was louder than the piano during certain passages and I watched my fingers moving up and down the keyboard, but couldn’t hear myself play). Even though I knew I didn’t have the temperament for this type of soloing, the knowledge I gained was useful for my teaching and preparing students.

 I feel I really found my musical niche when I starting composing. When a local theater company was looking for a musical director and composer, despite some trepidation regarding my lack of experience in this area, I took the job and discovered that I loved composing music. The more I composed, the more I delved into the study of music theory, both Western and Eastern, and became fascinated with ancient modes, jazz, and world music. During the time of the Iraq war, I composed a short chamber opera based on the oldest written myth in the world found on cuneiform tablets in Sumer (present-day Iraq), and incorporated middle-Eastern modes into the score. It was performed at Dominican University, where students, faculty, professionals, and community members all took part in the production, which was a very gratifying collaborative experience for me. 

4.   What do you hope to achieve in teaching students?

First of all, I hope to help my students develop a life-long love of music, since I truly believe that music has the capacity to heal and can be of benefit to those who play it and listen to it. I think this is because music engages us on so many levels—physically, emotionally, and intellectually—and perhaps helps to keep us balanced in these areas. Secondly, I hope to help my students find their way on their musical journey by exposing them to as many different styles and genres of music as possible. Hopefully, this will allow them to begin to discover what they’re interested in and where they fit, so that they can begin to set goals regarding what they’d like to achieve musically. Finally, I’d like to be that teacher who inspires students to carry on and stay the course with learning an instrument even when it gets difficult. I’m very grateful to my teachers who helped keep me going, and am extremely thankful that I didn’t quit. I think it’s important to check in regularly with each student (and their parents) regarding their needs and goals, and then adapt the teaching plan accordingly. But whether the student wants to enter competitions or just play for fun, I still believe it’s my job to give them a solid foundation of the essentials— technique, sight-reading, repertoire, theory, and ear training—so that, ideally, they can become independent learners. When picking repertoire for my students, I often play several pieces for them and let them choose one they like and then I choose one I think they need, which is a win-win situation for both of us. To help make the lessons fun and engaging, I try to incorporate singing, playing duets, improvisation, and composition into our time together.     

5.   What do you love most about teaching?

I love those times when a student has an ah-ha moment or a breakthrough after struggling with a difficult concept or technical problem that at first seemed incomprehensible or insurmountable to them. Just recently, a student finally understood the meaning of cut time, (I think it happened when I got silly and demonstrated what it would look like for a conductor to conduct four beats per measure at a very fast tempo by waving my arms frantically and mopping by brow, and then showing how much easier it would be to conduct the same piece in two). And last week a student who had been struggling with a difficult syncopated passage of a ragtime piece was finally able to play it with ease. She was so happy and wanted to play it over and over again, which was great. I also love it when a shy or quiet student goes through a transformation of their personality type by playing a dramatic piece of music with great power of expression and confidence.

6.   Do you have a practice tip you want to share with our students? 

Don’t practice mistakes! What I mean by this is that before practicing a passage of music, look carefully at the score as if you’re a detective to make sure you accurately perceive the correct notes, rhythm, phrasing, and dynamics and other expressive marks so that you don’t practice mistakes. Otherwise you have to unlearn them, which is not fun (I know this from experience :) After engaging the eyes, it’s then time to engage the ears as you practice the passage the slowly. Then, after each repetition, analyze and critique your playing and make the necessary adjustments.   

7.   What do you enjoy doing when you’re not teaching, practicing, or performing?

I enjoy riding my bike, swimming, hiking, cooking, and spending time with family and friends.

Q & A with Teacher Karen

Teacher Karen gets ready to start the teaching day in her studio. 2.5.2020

We sat down with our flute teacher extraordinaire - Teacher Karen for a Q & A session. She is an experienced flutist and teacher who has been educating beginning to advanced students for many years. In addition to teaching and performing, Karen directs the Stanford Flute Ensemble.

---

1. How old were you when you started taking music lessons and which instrument did you start with? I began taking piano lessons at the age of 5. My mother was my teacher. That was followed up by flute lesson starting at age 8. I quit piano when I was in my teens, which was a big mistake! Piano is so important to every musician, and I should have continued to study both.

2. When did you start taking music seriously and who/what inspired you to become a musician and music teacher? I began taking music seriously pretty much right away.  As soon as I could play just a few notes on the flute I knew that I was destined to be a flutist; I pursued that path and I never looked back. I was always encouraged by my mother, who always believed I would be a musician, and by one of my very first flute teachers, Norman Katz, with whom I studied where I grew up in Maryland. He introduced me to things like an album of Bach Flute Sonatas recorded by Jean-Pierre Rampal, what vibrato is, and the piccolo.

3. Tell us about your musical and teaching background. 

Musical background: I grew up in a household in which classical, folk, bluegrass, klezmer, Gilbert and Sullivan operas, and some rock music played constantly: there was hardly ever any time at home when we didn't have music on. Because of this, I learned what lots of different genres sounded like, and especially classical orchestral music, at a young age. This served as a terrific foundation once I started studying orchestral excerpts and playing professionally. Also, in addition to piano and flute, we had other instruments lying around the house that I learned how to play, like guitar and dulcimer, and my brother, who is still an active rock drummer, had a drum set for as long as I can remember. I used to play his set when I thought he wasn't home! But I was always most drawn to the flute: I loved the lyrical qualities of the instrument and all of the colors you could hear in the flute tone, and it just felt good in my hands.

Teaching background: One of the classes that I had to take in college was flute pedagogy, as my teacher, William Montgomery, insisted on teaching his students how to be an effective teacher. I am most grateful for this, as teaching is as complex an art as playing the instrument itself. I have taught all ages and levels: students as young as 8 and as old as 60, people who are very accomplished flutists who want to hone their skills even more, complete beginners, and every level in between. There are inherent challenges and rewards to teaching at every different stage. Once I was established as a private flute teacher, I started conducting flute choirs, which have become a big part of the playing community, and I founded the Stanford Flute Ensemble. I've also been on the faculty of Northern California Flute Camp for the last 25 years, where we teach master classes, chamber music, and electives and seminars on flute related topics in addition to solo performance. All of this makes for a very rich and rewarding career.

4. What do you hope to achieve in teaching students? My biggest goal is to leave each student with something useful, both in the concert hall and in their lives in general. I know from my own experience that my teachers were extremely influential in forming both the musician and the person I am today, and it is with this example that I strive to help produce a new generation of happy, well-balanced, fit-in-every-way musicians. If I can channel even a small portion of the wisdom bestowed upon me by the great teachers and conductors I have worked with, such as Frances Blaisdell, Jeanne Baxtresser, Kent Nagano, and Frederick Fennell, then I'm doing my job. What we do in lessons, practice rooms and rehearsals maps on to so much else in our lives.

5. What do you love most about teaching? I'd have to say what I love most about teaching is witnessing students grow into mature musicians who are passionate about playing the instrument. It's also a great learning experience for me too---the return is great from every successful lesson in many different ways. I also love the challenge of having to "target teach": figuring out how to explain the same concept in different ways to different people. It forces me to dig deep and utilize the very best of my music and communication skills.

6. Do you have a practice tip you want to share with our students? Your time in the practice room can be one of three things: productive time with fruitful results; wasted time; or (even worse than wasted time); time spent instilling bad habits. How you approach your practicing will determine which category it will fall under. Outcome #1---productive practice---depends on the following: a) that you are practicing difficult technical passages slowly, way under tempo, and accurately with metronome repeatedly; and b) that you are not ripping through fast passages before they are ready to be played at a fast tempo. This is the death nell of any hard technical passage. We learn by repetition, both good and bad habits, and whatever we put into our memory is what will come back on stage. Remember this adage: Practice Makes PERMANENT.

7. What do you enjoy doing when you’re not teaching, practicing, or performing? I have a lot of hobbies! I love to cook, run, hike, read, walk my dog, travel, play rummikube, and spend time with family.

Q & A with Teacher Kymber - Violin/Viola Teacher

Teacher Kymber (MM Violin Performance, Boston University)

1. How old were you when you started taking music lessons and which instrument did you start with?

I was 5 when I started violin lessons. Technically, my first “instrument” was a Kleenex box with four rubber bands strung around it that I made and then pretended to play like a violin around the house. Luckily, my parents got the picture and rented me a violin.

2. When did you start taking music seriously and who/what inspired you become a musician and music teacher?

I started to take music seriously when I joined a youth orchestra my freshman year in high school. The conductor, Randall Swiggum, made everything interesting and fun and was my biggest inspiration for becoming the musician and educator I am today. He would have handouts teaching specific sections of each piece using music theory and history. In rehearsal, he would paint a picture of the piece’s rich history by lecturing or watching videos. On top of this he always had high expectations for everyone, but by doing this he inspired and expected everyone to play their best. Pairing his teaching with the other extremely talented musicians, I became serious and competitive and decided I wanted to be a professional.

3. Tell us about your musical and teaching background. 

My first teaching experience was helping tutor a college classmate in Aural Skills. I was still young (I think 19), but realized I enjoyed trying to solve each puzzle they brought. This turned into more tutoring sessions through both my Bachelor’s and Master’s programs and eventually turned into more theory tutoring and the creation of a small violin/viola studio that I maintained until I moved to the Bay Area.

4. What do you hope to achieve in teaching students?

Whether or not they choose to become a musical professional, I hope that music will teach them more than playing a piece of music. I hope to establish good practice habits and solid fundamentals, how to express themselves and teach them how to be accountable. I want them to know I am with them every step of the way until they are able to master it themselves.

All I ever hope is for my students to get a little slice of music to keep with them forever!

5. What do you love most about teaching?

I love making connections, having fun and seeing my students becoming the masters of their own successes!

Also, I love it when my students bring in something about music they have learned or created outside of lessons. One of my favorites was when I had a student bring in a piece he composed over his break and perform it for me (something I didn’t ask him to do!). We were both so proud of his work and I was happy that he was inspired to be creative in such a way.  

6. Do you have a practice tip you want to share with our students?

Use your brain! Sometimes when we practice, we get stuck in repetitive patterns or watching the clock turn until our 30, 60, or 90-minute practice session is over. Instead try this: constantly use your brain while you play. For example, say to yourself, “I’m going to play this hard passage this time only thinking about my right hand, now my left hand, now my dynamics, now I’m going to put them together, etc…” Your brain will get quite the workout and you will realize you will learn the passage more quickly. Practicing like this produces better results more quickly than unfocused practice.

7. What do you enjoy doing when you’re not teaching, practicing, or performing?

I love to travel and go on adventures with my husband Taso. We both love learning, exploring, and trying new foods, so travel seems to hit all three! My favorite part from my last trip was hiking inside a gorge in Messinia, Greece.

Q & A with Teacher Joshua - Voice/Piano/Trumpet Teacher

1.     Tell us about your musical and teaching background.

In middle school and high school, I was total band and choir nerd. I also performed in school and community musical theatre productions, took lessons, and participated in district and state competitions. I went to college at Oklahoma City University and studied Vocal Music Education. At OCU, I performed in band, operas, and musicals while learning classroom teaching and vocal methods for children, youth, and adults. I then moved to Baltimore, MD to study Voice Performance and Pedagogy at the Peabody Conservatory of Johns Hopkins University. There I continued to perform in operas while learning the pedagogy of teaching private lessons. I began teaching voice lessons to instrumentalists at Peabody and taught private lessons in Washington, D.C. After graduation, I moved to Dallas, TX where I began my performance and teaching career in earnest. I performed operas, major choral works, musicals, and concerts with companies all over North Texas and maintained a private voice studio. In all three states, I also directed adult, youth, and children’s choirs in Methodist, Lutheran, and Presbyterian churches. I am pleased with the balance I have struck between performing a wide variety of works around the country while teaching privately, chorally, and in classrooms in a number of settings.  

2.     How old were you when you started taking music lessons and which instrument did you start with?

I’ve been singing since I was a toddler and started playing trumpet in fifth grade. My first private lessons were in piano when I was eight years old. I began private trumpet and voice lessons in my freshman year of high school.

3.     When did you start taking music seriously and what inspired you to become a musician and music teacher?

I have always taken music seriously, but first I realized how important it was to my identity in middle school when the administration took away the students’ option to be a part of both choir and band in the same school year. I petitioned the principal to allow me to take both courses in lieu of another subject and she allowed it. When I began taking private lessons, I realized that music was the path for me. I honestly couldn’t envision myself doing anything else for a career, so I explored what a career in music entailed. I came to understand that teaching and performing go hand in hand and I now know that teaching makes me a better performer and vice versa.

4.     What do you hope to achieve in teaching students?

Music is my passion and it is my goal to pass that onto my students. Leading a student to their full potential as a musician is the best way to instill that passion in them and to ensure that they don’t lose it, regardless of whether music is an integral part of their career or not. By focusing on the fundamentals of music, music literacy, technique, and musicianship, my students develop self confidence and the ability to fully express what they wish to communicate through music.

5.     What do you love most about teaching?

I live for those “Eureka!” moments in teaching. Learning to sing or play an instrument takes time and certain concepts often need to be repeated quite a bit in a variety of ways. That moment where a concept clicks and a student suddenly realizes the incredible sounds or musical nuances they can make is amazing.  

6.     Do you have a practice tip you want to share with our students?

I’ve found that the best deterrent for nerves when I have a performance coming up is to be super prepared. This involves starting to learn my music well ahead of time and spending time on it every single day, even if it’s only fifteen minutes on some days. As a singer, I often have to memorize full operas, including dozens of lines of dialogue or recitative. So engaging in smart practice methods and fully focusing on my music for a period everyday results in me being über prepared by the time a first rehearsal or performance arrives. Most of my students are incredibly busy with school, extracurricular activities, and work. But my “practice tip” is to make time every single day, even if you don’t think it’s long enough, to focus on your art and your music. Whether that’s silent studying or full on practicing, it will make all the difference when it comes to time to perform.

7. What do you enjoy doing when you’re not teaching, practicing, or performing?

I love to cook, so I spend a lot of free time discovering new recipes or experimenting with old favorites. I also always have a good book on hand to settle into and a few Netflix shows for those evenings when I just want to chill. I just moved to California, so I'm already starting to explore all the new sights to see including beaches, hiking trails, and cute communities all around the Bay Area.

Q & A with Teacher Val - Cello/Violin Teacher & New Mozart Alum

1. How old were you when you started playing violin/cello and which instrument did you start with?

I started playing the violin when I was in 4th grade at Fairmeadow Elementary School. I switched to cello because I realized I wanted to play an instrument that wasn’t as popular at the time.

2. When did you start taking music seriously and why did you decide to become a musician and music teacher?

I started taking music seriously in 5th grade when I started taking private lessons and joined Palo Alto Chamber Orchestra. From then I took everything music related seriously and ended up auditioning and joining many local orchestras while staying in my school’s music program as well. I didn’t decide I wanted to major in music until I was a junior in high school but I was a dedicated musician and making the choice wasn’t difficult.

3. Tell us about your musical and teaching background.

I grew up in Palo Alto, CA and attended JLS and Henry M. Gunn High School. During my years in Palo Alto schools, I was involved in orchestra and started taking lessons at New Mozart when I was in 7th grade. Growing up, I was in Palo Alto Chamber Orchestra from 5th-6th grade and was introduced to playing chamber music at a young age. I started with the Suzuki Method and went up to book 5 until switching to my first concerto and other repertoire. I then joined Golden State Youth Orchestra in 7th grade and made my way up to their highest group in 8th grade. I stayed there for three years and joined Peninsula Youth Orchestra from 11th-12th grade. During my junior year of high school, I was the only high schooler accepted into Stanford Symphony Orchestra and played with students on the college level.

While taking lessons at New Mozart and making music in the many community orchestras I was involved in, I gained insight on how much music can influence a person’s life. It was incredibly important for me to be involved in music because my life felt more fulfilled that way.

I have over 5 years of experience working with young children and have worked with pre-kinder, pre-first, and pre-second graders. I’ve also worked with music students of all ages in schools and summer programs.

5. What do you love most about teaching?

I love teaching because I love seeing growth. All children are like sponges and it’s amazing to see how vulnerable and accepting students are. When teaching, I find myself working to help the needs of my students individually. I’m always working to find the most effective way of teaching my students and do my best to cater to students of all needs. Teaching music is my way of sharing my love for music with the next generation.

6. You're a New Mozart alum now back here teaching the next generation. Can you tell us about your experience of studying at New Mozart?

My years of studying at New Mozart was my pathway to studying music education in college. I took lessons at New Mozart for 6 years and during those years I was introduced to teaching younger students since there was cello studio class at New Mozart. During my time at New Mozart, I was able to work with and see the different levels of students within my own studio and music school. This was so much fun and I continue to find enjoyment working with children of all ages in different settings.

New Mozart was such a supportive environment for my family and I and continues to be today.

7. Do you have a practice tip you want to share with our students?

Students should find some time in their day that’s dedicated to practicing. One tip for success I find the most useful would be scheduling individual days. It’s quick and easy and setting the routine early allows for days that are more productive.

8. What do you enjoy doing when you’re not teaching, practicing, or performing?

In my free time, I enjoy spending time with my family and the people I love. I’ve recently found myself reading and listening to more podcasts. I also love fashion and make up. Occasionally, I will find myself at the gym but most of the time I enjoy running outside and challenging myself to increase my time and distance.

---

Teacher Val is accepting cello and violin students of all ages. Call/email to schedule a trial lesson. 650 324 2373 | info@newmozartschool.com

Q & A with Teacher Diane, New Mozart's Distinguished Voice Teacher

Teacher Diane has been teaching at New Mozart since 2004. She has been tireless in her commitment to her students over the years and many of her students have gone on to successful singing and performing careers.  

1. How old were you when you started singing?

I've been singing since I was a little kid. I started off singing along with Disney movies and my dad played opera and operetta for me and my sister to listen to. I was not all that great as a kid, then around fifth grade my voice just popped into soprano range which was a shock to my family who had always thought I didn't have high notes. I signed up for choir as a good "no homework" arts class in high school. 

2. When did you start taking voice seriously and why did you decide to become a professional musician?

I started taking voice lessons in high school. I loved choir and took it very seriously, but I didn't know anything about singing or what I needed in order to improve. My mom was the one who suggested trying out lessons. Singing as a soloist, I rediscovered my love of performing. I had been involved in ballet and acting as a child, but had given both up to focus on other activities. My singing got me back into theatre and from then on, it was all I wanted to do, all the time. 

3. What do you love most about teaching?

The best part is learning from my students. I think every teacher says that, but it's true. They bring in fantastic songs and come up with amazing ideas. They also inspire me to explore new works and new ideas on my own. Working with students is a little like practicing for six hours a day, and I love practicing. 

4. This is your 15th year teaching at New Mozart and you've had many accomplished students over the years.  Can you tell us about a few notable ones. 

There are way too many to list. I've had some amazing students! Some past students include:

Sharon Lita is an amazing singer and actress who is currently in the musical theater program at CAP21 in New York and appeared in Lizzie Borden at San Jose Stage last summer.

You can hear Angelina Wahler's voice as Deema in Nickelodeon's Bubble Guppies and as Fee in Harvey Beaks. You can hear her singing in character on Harvey Beaks. She will be attending a music and theater program in Montana next year. 

Michaela Stewart is a filmmaker and actress who is studying at the Harold Ramis Film School Chicago. 

Maddie Sykes performs in film and theater. She has appeared in Period Piece and The Weekend Detectives and the NY premiere of Horse Girls. 

Suzanne Guzzetta is an adult student who has sung leading roles at Lyric Theatre of San Jose and South Valley Civic Theatre. 

A couple current students who have noteworthy accomplishments:

Violet P. made her San Francisco Opera debut as a featured supernumerary (Young Chrysothemis) in Richard Strauss's Elektra.

Robert V. made his Palo Alto Players debut as Noodler the Pirate in Peter Pan and won third place in Musical Theater at the SFBAC NATS Festival. 

Ava E. placed in both Musical Theatre and CCM (pop) at the SFBAC NATS Festival and has launched a new youtube channel under her stage name. 

 5. Do you have a practice tip or tips you want to share with our students?

I think it's best to practice with a goal in mind. The best way to do this is by making sure to bring music to every single lesson, even if you already have your song memorized, so that you can write down the things you need to work on for next time. Then focus on those things in the practice room. Don't try to take on everything at once. Focus on one thing at a time. Break things down into goals you can reach and once you do, move onto the next one. 

6. What do you enjoy doing when you're not teaching, practicing, or performing?

When I'm not singing, I'm planning our yearly epic Halloween display. In 2017 we added a dragon.