My mission as an educator is to provide a safe, consistent and structured learning environment where students can develop their full potential and discover their unique voice on the harp.
Amber has a positive, encouraging and methodical teaching style. Amber has experience teaching people of all ages, from small children to seniors. She also can prep student harpists for the college audition process and for high school/college orchestral auditions.
Angela Schwarzkopf is the first to be awarded a Canadian Doctorate of Music in Harp Performance. She lectures at University of Toronto and the Glenn Gould School of Music, and is on the faculty of the Young Artist’s Harp Seminar. Angela has over ten years of private music teaching experience, working with students of all ages from four years old to eighty plus.
My aim is to excite learning by using the harp as a tool to harness focus, dedication, and expression. Whether working on Bach or Beyonce, I’m excited about taking my students to the next level in their love of the harp. My personal instruction is matched with flexible curriculum for beginning to advanced harpists from ages 4 to 94 and beyond.
263 Main St., Placerville, CA 95667
Anne Roos focuses on proper hand technique, sight-reading skills, improvisation skills, music theory, repertoire building (learning Celtic, Classical, Folk, and all kinds of tunes), arranging music for the harp, accompaniment skills, performance skills, recording skills, and much more. She holds recitals and extra theory classes for her students, plus the opportunity for improvising with other instrumentalists.
Mercer University’s Harp professor and private harp instructor for all of Middle Georgia, with students from all over the state. Director of the Middle Georgia Harp Ensemble and harp coach for the Macon Symphony Youth Orchestra. Students range in age from 4-adult. Special needs students are welcome.
Blue Bell Pennsylvania
Plymouth Meeting Pennsylvania
White Marsh Pennsylvania
King of Prussia Pennsylvania
My approach to teaching is very individualized, although I like everyone to have a strong foundation. I strive to understand the way a student learns. Its important to me that my students are enjoying themselves and feel comfortable experimenting outside of lessons. I introduce my students to duet and ensemble playing early on, harpist should play well with others. I really enjoy teaching and am very committed to making sure my students enjoy lessons as much as I do.
I strive to provide an environment where students experience the joy of making music while developing strong, and healthy, technique. I look forward to helping all of my students accomplish their goals through steady encouragement and a multi-faceted approach.
Lessons are an interactive process of discovery. I believe in creating a positive, supportive environment that allows each student to achieve beyond their goals. My main focus during lessons is to develop a solid technique and relaxed approach to the instrument, building repertoire, developing good practice habits and tapping into the imagination and creativity of each student.
Cheryl Dungan Cunningham has been teaching students of all ages and skills to play the harp since 1980. Drawing upon her education and her extensive and varied performance experience, Cheryl works with students as young as age 6, to adults with no musical experience, to advanced students of any age. Using either folk or pedal harp, students may tailor their instruction to folk, classical or popular music.
Christine is an experienced performer, composer and dedicated harp teacher. She received training at the Royal Conservatoire of Scotland in concert harp and lever harp. She studied Irish harp at the Royal Irish Academy of Music and holds a Licentiate of the London College of Music (LLCM) in Irish Traditional Music Performance. Christine has a specialist interest in playing popular music on the harp and shares her music all over the world by teaching students using Skype/FaceTime.
I encourage students to become their own teacher through self guidance and objectivity.
A primary focus is observing and implementing relaxed hand position. Our hands are our only tools. We have no hammers, keys or mallets!
I ask students to apply analytical skills, such as identifying patterns and chords, so that musical understanding and balance are essential to performance preparation.
I believe in developing objectivity and realistic expectations through recording and listening.