Private Teachers

Jennifer began piano lessons at the age of seven and flute when she was ten years old. She later also added the study of oboe, English horn and clarinet to her instrument repertoire. She received her bachelor’s degree in music education from Concordia University, River Forest, IL in 1991. During her collegiate years she performed on flute and piccolo, touring with the Concordia Wind Symphony.

Jennifer began teaching privately during her college years and built her business into a full-time career following the receipt of her degree. She has been teaching flute at Fremd High School since the fall of 1992. She is a member of the National Flute Association and the Chicago Flute Club.

In addition to teaching, Mrs. Nelson also performs in numerous ensembles. She plays flute with the Northshore Concert Band, one of the premiere adult community bands in the country, and was their featured piccolo soloist in July 2003. She has appeared with the Concordia University Wind Symphony on oboe and English horn in five professional CD recordings, as well as touring 29 states and five countries in Eastern Europe. She also appears periodically in pit orchestras for community musicals. She plays for church services, weddings, receptions, and other social events.

Music lessons are generally taught once a week and are half of a class period. Lesson time is divided to ensure a broad exposure to all facets of study including technical proficiency, phrasing, intonation and expression.

Jennifer believes strongly in making music a lifetime activity. She seeks to instill in her students a love of music by providing them with a solid foundation in their studies, providing them with the tools to be independent music readers rather than imitators. First she emphasizes the music fundamentals of rhythm, note reading, practical theory, and most importantly, how to practice. When this foundation is laid, she broadens the studies to include interpretive skills for expressive playing, particularly through solo literature. Her goal is to get her students to the point where they can take care of the technical issues on their own through individual practice so that lessons may be spent mostly on interpretation of the music. Until they reach this point of independence, much of the lessons are spent teaching practice techniques that are more efficient than merely playing the piece through over and over.

Jennifer realizes that most students seeking lessons are not planning to become professional musicians. However, she hopes to instill a strong musical background and a lifetime love of music in her students regardless of which career path they ultimately choose. There are many performing opportunities for adults who play as a hobby rather than a career. Also, learning to play an instrument helps build a greater appreciation when attending concerts as a listener. She hopes that her students will make music a permanent part of their lives.

Melodious and Progressive Studies for Flute book 1 Revised by Robert Cavally, Southern Music

Solos for Flute 36 Repertoire Pieces With Piano Accompaniment edited by Donald Peck, Carl Fischer

Top Register Studies for Flute 90 Melodious Studies by Thomas J. Filas, Carl Fischer

*A metronome and a tuner are suggested also. Korg tuner metronome combo KORG-TM40 is good if student doesn’t have either one; otherwise Korg CA-40 tuner and Korg MA-30 metronome if you need only one or the other. Students also need a cleaning rag that should be tied to the handle of the case, or if you have a case cover, you can put it in there. Wipe out your flute every time you use it. Do not keep the used damp rag in the case; the idea is to keep the moisture out of the case! The fuzzy “pad saver” is not recommended because it leaves the moisture inside the flute, creating an unsanitary environment.

www.larrykrantz.com - A huge amount of flute related information; includes links for ordering from Flute World and other music sources, special fingerings, and much more.

Ms. Hideko Amano, Flutist, was born in Japan and came to the United States at the age of 12. Upon arriving in America, she began studying flute under Ms. Susan Levitin and soon won many young artist competition awards. Ms. Amano’s performance debut occurred in 1990 at the Chicago Symphony Orchestra Hall (Symphony Center) where she performed as a soloist for Chaminade’s Concertino for Flute and Orchestra.

In 1995, she earned a Bachelor’s Degree of Music from the New England Conservatory of Music in Boston, where she studied under the prominent flutist Ms. Paula Robison. In 1996, she gave a joint performance with Ms. Robison in a concert series for the New York Metropolitan Museum of Art. From 1995 to 1998, Ms. Amano continued her musical education in Europe at the l’Ecole Normale de Paris, where she studied under Mr. Mathieu Dufour, who has since joined the Chicago Symphony Orchestra as principal flutist. While studying in Paris, she also performed in many international Chamber Music Festivals in Italy, England and Morocco. In 1997, she traveled to Haifa, Israel and performed as a soloist in Mozart’s Concerto for Flute and Harp.

Since her return to Chicago in 1998, she has continued her career as an active recitalist. She has performed on the WFMT 98.7 Monday Evening Series. She is actively involved with several Japanese organizations and performed in a concert series at the House of Consul General of Japan, as well as the Japan America Society of Chicago’s August Peace Concert. Most recently, she has appeared at the Dame Myra Hess Concert Series at the Chicago Cultural Center. In the Chicago area, she has appeared at the School of the Art Institute, the Harold Washington Library, the Three Art Club, the Northeastern Illinois University Auditorium and the Woodstock Opera House. In addition to her performing career, Ms. Amano also maintains a growing private studio and teaches at Roosevelt University Community Division for young flutists. Some of her students have been winning the competitions and succeed to study at major universities. Her students have won Union League Competition, SAM, Chicago Flute Club, Evanston Symphony Concerto Competition, National Talent Search and many others. She is currently an adjunct professor of flute at DePaul University in Lincoln Park, IL.

I would like to share some of my thoughts on our daily practice for the flute. It is very important to continually develop yourself to become a well-balanced player at every level. Remember that the music you create is a reflection of your inner self. Our body and mind need to work in harmony. Try to imagine that the flute is a part of your body. Do not try to aggressively overpower the instrument. Instead, control the mechanism of the flute and coordinate yourself. Breathe naturally and make music as beautifully as possible.

Have fun and enjoy every phrase. Each time you prepare to play your instrument, try meditating or thinking of beautiful things. Becoming in touch with nature will bring out its beauty in your playing. Learning to play the flute is not only about learning the instrument. It is a journey that allows us to learn our inner selves through the music. The ultimate goal is to enable each individual to express and communicate through the music, playing it as naturally as possible. These exercises are important tools to get to a higher level of communication. Take every day of practice as one step in the journey towards becoming a well-balanced musician and let your flute playing come alive!

Trevor Wye Tone Bool Vol. 1
Taffanel and Gaubert 17 daily finger exercise
Freanch Composers By Schirmer edited by Louis Moyse
Paula Robison's Warm up book
Advanced Method by Rubank Vol. 1 & 2

Allison Baker (oboe, English horn) is active as a performer and teacher in Chicago and surrounding areas. Allison holds three degrees in Music Performance; she earned her bachelor’s from Illinois Wesleyan University, where she studied with Jill West, and her master’s from The University of Illinois at Urbana-Champaign, where she studied with Nancy Ambrose King. Allison then followed Ambrose King to The University of Michigan in Ann Arbor, where she earned a post-graduate (specialist’s) degree.

She has performed with the Rockford, Kenosha, Northwest Indiana, and Illinois Symphonies, and regularly subs with the Illinois Philharmonic and the Chicago Chamber Orchestra. In addition to teaching at Fremd, Allison teaches at Conant and Schaumburg High Schools in District 211, Neuqua Valley High School in Naperville, and Cass Junior High School in Darien. She is also a reed maker for Midwest Musical Imports, a music supply company in Minneapolis.

While working as an editor for the Instrumentalist Magazine and the Web site www.banddirector.com, she published a number of music-related articles, and has also done some freelance editing for GIA Publications. This is her fifth year of teaching at Fremd High School.

First and foremost, I want everyone who plays the oboe to enjoy making music. The oboe is not an easy instrument, and while most everyone who chooses to play it is willing to put some extra effort into mastering the instrument, the reasons why they play the oboe are quite varied.

Whether students want to pursue a performing career, or whether they just want to participate in the high school band, I am happy to teach willing students of any ability level and help them to attain the level of proficiency they wish to have on the instrument. I strive to identify each student’s individual strengths as well as their purpose in playing the oboe, then I select music, etudes, and scale exercises to help them improve their technique and musicality. All students must learn the basics (scales, alternate fingerings, proper embouchure, etc.), but from there, the course we take is largely determined by the student.

Whether students just want help with their band music or whether they wish to compete at the highest level, all students will benefit from private instruction, and the discipline and level of commitment required by this type of specialized study carries into other aspects of daily life, the effects of which last long after the last lesson has ended.

To practice effectively and play successfully, all students should have the following:

– two to three working reeds (at all times!), either handmade, professional reeds (purchased from me or from one of the sites below), or store-bought reeds of medium to medium-hard strength

– a lesson book such as Rubank’s Advanced Methods (Volumes One or Two), David Hite’s Melodious and Progressive Studies (Volumes One or Two), the Barret Studies, or the Ferling Etudes (these are the etudes used for IMEA auditions)

The International Double Reed Society is a professional organization for oboists and bassoonists. Their Web site, www.idrs.org, has articles, reviews, sheet music, and recordings, as well as a forum to communicate with both amateur and professional musicians from around the world. Much of the information is accessible to the public, but some is available to members only. If you are interested in becoming a member of the IDRS, discounted student membership rates are available.

Sally Gerber is an experienced musician who has been teaching private clarinet lessons for 25 years. She received her bachelor’s degree in music education from Augustana College in Rock Island, Illinois in 1982.

Sally has had a variety of musical experience which include teaching general music K-8th grades, directing and accompanying a children's choir, accompanying for solo and ensemble contests, band directing, leading clarinet sectionals, and teaching private clarinet lessons. Sally also enjoys performing with the Mt. Prospect Community Band and the AHEFC orchestra.

Sally has been teaching clarinet students at Fremd High School for eleven years. She works diligently to help her students achieve their musical goals. She hopes that all of her students will continue to love music throughout their lives.

3. Kroepsch- 416 Progressive Daily Studies for the Clarinet by Simeon Bellison, Book One

All clarinet students should purchase two or three reed guards, Vandoren Reeds(strengths 3,3.5 or 4),a metronome, an upgraded mouthpiece ( either Larry Combs LC1 , LC3, or Vandoren M13, M15, or B45)and an upgraded ligature. (Vandoren Optimum)

Matt Lano is a Chicago-area bassoonist that has performed in the Civic Orchestra of Chicago and Chicago Symphony Orchestra. He holds a masters degree in Bassoon Performance from the Chicago College of Performing Arts at Roosevelt University.

Originally from the Baltimore area, he earned his Bachelor of Music degree from New England Conservatory. Principal teachers include Dennis Michel, Wilfred Roberts, and Rick Ranti. He has also taught in the Dallas area public schools, as well as working with students in the Chicago Youth Symphony programs. Many of his students have achieved success in district and region auditions, as well as solo and ensemble festivals.

Eric Goluszka is a saxophonist and educator in the Chicago area. He is an active performer in a wide variety of genres including traditional and modern classical, jazz, salsa, and an assortment of popular styles. As a soloist, he strives to present a diverse selection of music in his recitals, often juxtaposing avant-garde saxophone works with baroque transcriptions. His command over contemporary techniques (such as circular breathing, multiphonics, and slap-tongue) has influenced the composition and dedication of new works for saxophone. Eric has performed throughout the Midwest United States, Canada, Southern France, Sicily, and Thailand, both as a soloist and as a member of ensembles such as the New Edmonton Wind Sinfonia, Rockford Symphony Orchestra, the Devil’s Own Saxophone Quartet, and Orquesta Energia Salsa Band.

In 2003, Eric received a Bachelor of Music degree with a performance emphasis from the University of Alberta, in Edmonton, Alberta, Canada. While there, he studied with renowned saxophonist Dr. William Street and performed in masterclasses for top modern composers and saxophonists such as Gavin Bryars and Jean-Marie Londeix. Eric received a Master of Music degree with Distinction from DePaul University, where he studied with Susan Cook. His other major teachers have been James Kasprzyk, Matt Olson, Tim Aubuchon, and Jeremy Ruthrauff.

Mr. Goluszka is in high demand as a saxophone instructor throughout the Northwest Suburbs of Chicago. His students have received first place medals at solo and ensemble festivals and have been selected for IMEA district and all-state honor bands. Eric has been teaching saxophone lessons at both William Fremd High School and Schaumburg High School since 2005. In addition to working with the saxophonists at these schools, he also leads woodwind sectionals at Fremd. Starting in 2008, Eric will be the Saxophone Chair with the New Music School in Chicago, Illinois.

Recommended Books and Materials:

Charlie Parker Omnibook

Mouthpieces (Classical/Concert) - Selmer S80 C* or C**, S90 180 or 190

Vandoren Optimum L3 or L4, V5 Series

Mouthpieces (Jazz) - Meyer 5,6,7 Otto Link 6, 6*, 7, 7* Vandoren V16 Series Selmer Super Session Yanagisawa

Reeds - Vandoren Traditional, ZZ, V16, and Java, Hemke, Légère

Wanda Braden has been on the faculty of VanderCook College of Music since 2000 teaching the Applied French horn studio. Several of her VanderCook students are now successful music educators in the greater Chicago area and beyond. Wanda has maintained a teaching studio at her home in Bartlett since 1993 helping many students through beginning stages and on to successful college acceptance. Most recently, one of her students of 7 years, played principle horn in the Schaumburg Youth Symphony, was named principle horn of the IMEA All State Honors Orchestra in 2008 and was awarded a scholarship to study music education at ISU. Wanda has been teaching in District 211 schools since 1996 and at Fremd since 1998 and many of her students have continued to study music in college. She is also on the faculty of A & A Music Academy in Hanover Park where she teaches French horn, piano and voice since 1997.

She earned a bachelors degree having studied music at the University of Minnesota with additional studies done at the University of Michigan through the Interlochen Arts Camp in Michigan. In Minnesota she studied privately with Priscilla McAfee, priniciple horn of the St. Paul Chamber orchestra. At Interlochen her teachers were Rebecca Root, principle horn of the Rochester Philharmonic and John Jacobsen of the Cleveland Orchestra and John Ceriminaro. In Chicago she has studied with Grace Kang and Daniel Fackler. Wanda has continued to expand her musical education by studying voice with Susan Dennis and piano with Ellen Mosher at Harper College. She has been active as a church musician in her home community of Bartlett.

Wanda is currently coprinciple horn of the Manitowoc Symphony Orchestra. She also is a member of the Chicago Symphonic Pops Orchestra and the Harper Symphony Orchestra since 1996. She has appeared regularly with the Rockford Symphony Orchestra, Elgin Symphony Orchestra, Paderewski Symphony, Solid Brass Ensemble and has played numerous musicals for multiple community theatres. She is a member of the Wheaton Municipal Band, considered one of the country's 10 top community bands, since 1996 and has soloed with the Northwest Suburban Concert Band. She is a member of Musicians Union 10-208 and the International Horn Society. She was also a founding member of the Northwest Suburban Horn Club and handles the library for that organization.

Christian Anderson was born and raised in Dubuque, Iowa. Coming from a musical family he started playing trumpet at early age and was taught by his father until college. He attended the University of the Northern Iowa and studied with Dr. Randy Grabowski. He played extensively with local symphonies including performances with the Waterloo-Cedar Falls Symphony, Cedar Rapids Symphony and many other small groups during this time. Also during this time he performed two tours with the American Wind Symphony Orchestra as principal trumpet and as lead trumpet for Carnival Cruise Lines. Christian graduated from UNI with a B.M. in Music Education and a minor in Jazz Studies. After graduating from UNI Christian then moved to Chicago to continue his education at DePaul University. While there he studied with John Hagstrom of the Chicago Symphony and earned his M.M in trumpet performance. Christian currently lives in Chicago and plays extensively in the Chicago area.

Mark Fry is currently the bass trombonist of the Elgin Symphony Orchestra, Chicago Opera Theater, Ars Viva Symphony Orchestra, Rockford Symphony Orchestra and Lake Forest Symphony. He has performed with numerous orchestras in the United States, including the Chicago Symphony Orchestra, Lyric Opera of Chicago, Grant Park Orchestra, Joffrey Ballet Chicago, Chicago Philharmonic, Chicago Sinfonietta, Houston Symphony Orchestra, Colorado Symphony Orchestra, San Antonio Symphony, Charleston Symphony Orchestra, Britt Festival Orchestra (Oregon), Sarasota Opera, Des Moines Metro Opera and Spoleto Festival – Italy. Mr. Fry has performed with the Chicago Symphony in Carnegie Hall during the fall of 2001 and the Houston Symphony during their 2010 UK Tour. Before moving to Chicago, he was the bass trombonist of the Hawaii Symphony Orchestra in Honolulu. He has long been involved with contemporary music, performing with such groups as Fulcrum Point New Music Project and on the Chicago Symphony's Music Now series. Mr. Fry has recorded with the Houston Symphony Orchestra, Mannheim Steamroller and the Spoleto Festival Orchestra, as well as for radio and television commercials and for several music publishers.

Jim Langenberg, an active teacher and performer, is now in his fifth year of private instruction in tuba and euphonium at Fremd High School. In addition to teaching at Fremd, he also teaches at Conant High School, Schaumburg High School, Vernon Hills High School, and Warren Township High School. Jim has also been on the faculty of the Blue Lake Fine Arts Camp in Michigan. He has a Bachelor of Music in Tuba Performance from Northern Illinois University and a Master of Music in Orchestral Studies from The Chicago College of Performing Arts at Roosevelt University.

Mr. Langenberg is an active performer in the Chicago and across the mid-west. As an orchestral musician, he is the principle tuba in the Dubuque Symphony Orchestra, a contracted position he has held since 2004. He has also performed with the Kenosha Symphony, Lincolnwood Chamber Orchestra, Symphony of Oak Park and River Forest, and the Chicago Classical Philharmonic. In 2008, Jim was selected to participate in the Monteux School for Conductors and Musicians. As a chamber musician, Jim has performed with the Old Dominion Brass Quintet, VII Brass, Illinois Philharmonic Orchestra Brass Quintet, Antioch Brass Quintet, Die Lustigen Musikanten German Band, Chicago Mob Dixieland Jazz Band, and the Ragtime Rascals Dixieland Band. In 2008 he went on tour with the Blue Lake Fine Arts Camp Faculty Brass Quintet. As a soloist, Jim has performed a Featured Artist Solo Recital in 2007 at the Hawkeye Regional Tuba and Euphonium Conference at the University of Iowa. He has also performed as a soloist with the Northern Illinois University Philharmonic, Conant High School Wind Symphony, Waukegan Municipal Band, Lakes Area Community Band, and Christian Life School High School Band.

1. Metronome: Most any will do in assisting students with learning good rhythm. I prefer one with subidivisions.

2. Tuner: I find the Korg tuners are the only tuners on the market that can pickup the low range of the instruments with accuracy.

**For those who would prefer both Tuner and Metronome in one unit, get the Korg TM-40. It will also save you some money compared to buying two separate units.***

3. Mouthpiece: Helleberg mouthpiece. Standard, not the 7B. Kellyberg (plastic) is only acceptable for Marching Band. Advanced students should discuss mouthpiece selection with me.

4. Valve Oil and Slide Grease: I use Hetman oils on my horns. Horns should be oiled daily.

5. Instrument: All euphoniums and tubas are provided by FHS. If you wish to purchase a euphonim or tuba please contact me.

6. Lesson Books: ***Note: most books for euphonium students are trombone books.***

2. 1^st Book of Practical Studies, pub. Warner Bros. (tuba or trombone, blue and tan book)

b. Intermediate: 2^nd Book of Practical Studies, pub Warner Bros (tuba or trombone, purple and gray book)

7. Solo repertoire: as requested by instructor. I expect all students to participate in the school sponsored Solo/ensemble Contest in the spring.

8. Practice time: In order to develop with consistency, it is necessary to participate in Band as well as having a regular practice time outside of band. Without both playing opportunities, improvement comes very slowly.

Lia DeRoin is a percussionist specializing in chamber and contemporary music. She earned her bachelor’s and master’s degrees in performance from the Northwestern and Yale Schools of Music, respectively, and recently spent time freelancing in the greater Kansas City area before returning to Chicago. While in Kansas City, she was a founding member of Percussion Group Kansas City and played and recorded with the Kansas City Symphony, as well as teaching lessons and serving as percussion instructor at various area schools.

In addition to her work in Kansas City, Ms. DeRoin has had the opportunity to perform with the Civic Orchestra of Chicago and the Spoleto Festival USA Orchestra. As a chamber musician, she has performed in Schwaz, Austria and Bolzano, Italy with the International Ensemble Modern Academy and in Beijing, Shangai, and Seoul with the Yale Philharmonic and Yale Percussion Group. She has also enjoyed collaborating with numerous composers, including Oliver Knussen, David Lang, and Alejandro Viñao, among others. Her teachers have included Michael Burritt, James Ross, Paul Wertico, Robert van Sice, and John W. Parks, IV.

- Method books/sheet music determined by level of player. Beginners will use Garwood Whaley’s “Fundamental Studies for Snare Drum” and “Fundamental Studies for Mallets”.

- All students should have a notebook to keep track of assignments, exercises, etc.