Clovis Bordeaux Piano Studio

Clovis Bordeaux Piano Studio

5.0 (8)
2 hires on Lessons.com

About this pro

My wife and I love old movies and the evening news.  A few days ago, a newsperson began talking about how children who study music have improved powers of concentration.  My wife immediately pointed at me and said, "That's why you are able to focus so well."

I guess it's true.  I've played dozens of classical peices, hundreds of Jazz tunes, and written even more.  One thing they all had in common they required the ability to focus.  

When I was about 12 years old I had to play a recital.  I always got nervous playing for people.  But this time I was so prepared that I was able to literally see and hear the music before even sitting at the piano.  When I began focusing on experiencing the musc in my mind, the nervousness went away and I gave a memorable performance.  

I am sharing all this because, as my student, you will learn to use your imagination in ways that will help you become a better musician - more intuitive, communicative, and aware.

Music is an investment in yourself that will reward you with a lifetime of relaxation and enjoyment.  Google "The benefits of musical study."  Then give me a call. 

Last week at a community center where I teach children, a young parent came in.  We exchanged greetings - I've been knowing him and his father for many years - then he walked to the piano, sat down and began playing something from one of Beethoven's sonatas.  I was flabergasted and elated.  Another guest, a songwriter, looked at me and we both nodded our satisfaction.  Later I discovered that the young man was playing by ear.  From that moment I began looking forward to the next opportunity I would have to give him a book that would help him learn to read music.  All of the best musicians I know read music on sight.   If you want to learn how to do this, I can help you. 

I love being able to listen to music and understand what the artist is expressing.  Music is a conversation - one of the most interesting we can have. 

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Credentials

Chicago, IL 60653
Phone verified

8 Reviews

5.0

  • Ernest P.

    Clovis Bordeaux and I have been friends and business colleagues for over nine(9) years now. Mr. Bordeaux is no doubt highly rated as a professional Pianist both theoretical and practical in his special unique creative and talented abilities in reaching both his students and the general audience. I have personally been a music student of Mr. Bordeaux learning music theory and playing mainly the Flute,piano,and some drums. Also I was invited to the High School where he thought full time music to High School Students. It was a great inspiration to see how spirited and Dynamic he conducted these highly intricate renditions as his students performed flawlessly. There were many other musical events That I was privileged to attend and they still linger in my mind as a musical tapestry of Musical Joy. It is my pleasure in writing this review of friend,business colleague and one of the most reputable and inspirational professional musician;with talented abilities to draw out the best out of his students. Mr. Clovis Bordeaux will certainly bring a high level of professional musical productivity as a fulfillment to You and Team.

  • Betty P.

    Mr. Bordeaux is an excellent teacher.

  • Theodore C.

    Clovis Has been a great help in rebuilding my improvisational skills and theoretical concepts playing. He's patience understanding and highly knowledgeable. Clovis has enhanced my physical and the spirituality connection in music also. I'm becoming more confident in my playing; and I don't believe I could have gotten to the point I am now without his guidance.

  • Shannon H.

    Working with Clovis has been an amazing experience like no other. His love for music and it's purity as an instructor, musician and recording artist shines through his walk in life.


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FAQs


What is your typical process for working with a new student?

A first lesson is special, like a new baby - which is what Duke Ellington always called his latest composition.  

The student is usually eager to get started (this is good!)  Musical skill are not assessed at this time because they are not important.  What matters is the communication of interest, intent, value, and process. 

My first question (for older students) is "Why do you want to learn?"  This can lead to sharing of enjoyable past musical experiences, and ideas about where we want our musical path to lead. 

If the student is a child, we will do some simple fun activities, and allow time for a level of comfort to emerge. 

In every case, ground rules - practice requirements, roles of parents and siblings, books and other materials, recitals, absences, etc. - are established with student or parent.


What education and/or training do you have that relates to your work?

Bachelor of Music Education, Webster University

     - Piano Performance

     - Music Pedagogy

     - Instrumental Music Methods (strings, winds, percussion)

     - Voice

     - Electronic Music

     - Ear Training and Theory

Student of:

Madam Maria D'Albert - Opera Workshop

Dr. Gail Delente - Piano

Pawel Chencinski - Piano

John Hicks - Jazz Piano

Toshiko Akioshi - Jazz Theory and Piano

Don Moye - Drums

James Newton - Flute

Sylvester Bell - Guitar

Robert Lombardo - Composition

Jerry Butler - Songwriting Workshop


Do you have a standard pricing system for your lessons? If so, please share the details here.

My basic rate is $55 per hour, with the following considerations:

     - Travel times are included

     - Shorter lesson are pro-rated, i.e., $30 per half-hour

     - Books and materials are not included

     - Lessons paid monthly in receive a 10% discount

     - One cancellation is allowed per ten-week                           session.  After that cancelled lessons are charged full         price.

 

     - Further details and payment options will be discussed


How did you get started teaching?

My younger brother was my first student when he was about 7 yrs old.  He later switched to violin and continued playing through high school.

Growing up, wherever there was a piano family members would always ask me to show them how to play simple songs.  I enjoyed doing this.  It was so much fun to be able to play "Heart and Soul" as a duet with someone else.

 When I was in high school, the Music teacher allowed me and some friends to start a Jazz band.  I taught a lot of the Jazz theory I learned from my Uncle Sylvester who played guitar with Red Calander. 


What types of students have you worked with?

Most of my students have been children in the public schools where I taught for 20 years, and at the communtiy center operated by my church.  

I have also taught adults through grants I received from the Illinois Arts Council and the Chicago Office of Fine Arts, as well as on the Columbia College and Illinois State University campuses, and as a choir director in several churches in the Chicago area.  


Describe a recent event you are fond of.

I had been retired from Chicago Public Schools for about 7 years.  My wife and I had seen a few plays at the Black Ensemble Theater where I had worked in the 80's.  We had picked up some sandwiches on the way and were seated at a table in the beautiful new theater complex when Jackie Taylor, the founder and executive director, came over to say hello.  She asked me what I was doing, and I said I was just enjoying retirement.  She then introduced me to Robert Redrick, the Musical Director and I started work within a few weeks.  I stayed with the company most of that year, playing for "The Dionne Warwick Story," "The Marvin Gaye Story," "The Jackie Wilson Story," and other powerful stage plays.  


What advice would you give a student looking to hire a teacher in your area of expertise?

First, find out if the teacher can actually play the instrument.  Look for performances of theirs that you can listen to online.  

Talk to students of the teacher. Unless they are too famous and can't be reached (!) they can tell you what they did or didn't learn, and if they think it was worth the investment.


What questions should students think through before talking to teachers about their needs?

There's really only one question.  "Am I willing to sacrifice and do the work required?"  In his book "Outliers," Malcolm Gladwell says that becoming good at something requires about 10,000 hours of study and practice.  That's about five years if you do it 8 hours a day.  Pablo Cassals said that after fifty years of playing the cello, he's realized about half of the instrument's possibilities.  If it's something you want to master, it doesn't matter how long it takes.