Pangloss Music Studio
About
Music improves our lives and make us happier, more connected, and able to think more rationally and creatively. It activates almost all the brain's processing centers, plus the emotional centers in the amygdala and hippocampus, and more. It challenges us, makes us smarter, helps us to better solve problems, and connects us to one another and the world. Music helps us enjoy life more fully and it makes us better people.
I believe musicians and music students have a common goal: to play beautiful music beautifully, in whatever styles we prefer. From your very first lesson, I'll help you navigate the large body of Western music literature from many countries, eras, and styles, from Classical to Pop to Rock and (to a point) Jazz. You/your child will learn the best techniques and practices handed down to us by the great composers, pedagogues, and performers, past and present. My students learn not just technique, but also music theory, form, style, history, and ear training. This enables students to play many different types of music.
I believe in the healing powers of music and the science of how learning an instrument positively affects the brain.
In fact, I was very interested in this in graduate school, did a major project and various papers on it, and have made it a personal and ongoing study ever since. I am not trained specifically for teaching exceptional learners, but because of my experience and interest, I was given all the exceptional students during my time teaching in the NAU Suzuki teacher training program and in the university’s prep school where I also taught.
You should hire me because, whatever your musical goals, I tailor lessons, assignments, and selection of music to each individual's learning style and strategies. I teach in the way each student learns best, from the youngest to the less-young students, ages 3 to 80+.
Plus, I LOVE teaching! It's more rewarding than anything I've done or imagined doing. I endeavor in every lesson to teach with patience, empathy, and joy, while teaching you how to practice effectively, make consistent and meaningful progress, and to have fun doing it!
To do all that, it takes the trained "ear" and individual expertise, evaluation, advice, and counseling of a sensitive and astute teacher. The presence of a trained "third ear" changes and enhances how we hear. This element can’t be acquired solely from online videos and randomly selected methods and books. So, if you've tried this on your won and now you're stuck...well, contact me!!
My experience and training have taught me that many approaches to teaching and learning can lead to the same results: excellence in playing, good musicianship, a solid knowledge of music theory, history, and literature. My music students also increase their concentration, focus, and self-discipline skills. Most find this rewarding and enjoyable. So, I don't push everyone into one favorite method. Instead, I develop individualized programs depending on the student's age, goals, experience, learning styles, strategies, strengths, and needs. I choose from several different method series and books and create tailored individual assignments and resources that best fit and "speak" to each student.
As my student, you or your child can trust me to:
1. Have a good “ear" and excellent musical sensibilities
2. Have a thorough knowledge of music history, theory, form, and style.
3. Evaluate your playing and guide your musical and technical development with clear and meaningful instructions.
4.Know and impart the correct techniques for playing anything with ease and without tension.
5. Assure that you make constant improvement without developing playing injuries.
6. Teach you how to practice effectively and efficiently -- the key to everything.
7. Develop the right plan for progress and choose the right pieces and exercises to ensure you'll enjoy your practice and become the best musician you can be at every step.
8. Teach you how to perform (if you desire to).
9. Keep up with and incorporate the latest science of music, learning, memory, performance, practice, comprehension, and more.
And,
10. Present all the above constructively, with patience, humor, and joy.
Studio Environment
Lessons are taught on my Yamaha G2 Studio Grand in a warm, inviting space surrounded by seven bookcases of resources — over 50 music theory treatises and textbooks, and as many composer biographies, and even more music period texts. I still have my library-within-a-library that is, the 15-volume International Library of Piano Music (1968), which I grew up using and that holds much of the standard teaching literature for piano by period and in graded levels.
I more recently purchased the complete 20-volume New Grove’s Dictionary of Music and Musicians (1980, ed. Stanley Sadie) in paperback, and the 5-volume 1947 3rd Edition Grove’s (with prefaces from the first two editions). I have years of Pianist, The Strad, Music Teacher, and Music magazines, and The Great Courses’ How to Listen to Great Music and How to Listen to and Understand Opera. Of course there are multiple language dictionaries, and much more. My collections of piano and violin literature are robust and also include most of the technique and etude volumes every student of music must at least attempt to conquer in the long course of their studies. Much of my music still contains the penciled directions and markings of many of my teachers. To me, that’s priceless.
Students learn in an inspiring environment that is also filled with art, antiques, objets d’art, de nature, et de curiosité (objects of art, nature, and curiosities), along with all the teaching materials and props I use to teach—all of which encourage creativity.
[NOTE: I teach from my home. I'm phasing out travel and no longer teach online. If you're contacting me from Las Vegas, Moriarty, Socorro, Los Lunas, Belen, Corrales, Rio Rancho, Bernalillo, Placitas, Los Ranchos, the West Side, The Communities, East Mountains, or elsewhere out of the Metroplex, be sure you consider travel time. I have students from all these areas because having THE RIGHT teacher is always worth the travel. And I guarantee that you will always receive more than your money's worth.
I appreciate your consideration and promise you won't be disappointed!
Highlights
Payment methods
Specialties
Do you own a violin?
Years experience
Able to read music
Lesson length
Student's age
Instrument interested in
Photos and videos
Reviews
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Frequently asked questions
What is your typical process for working with a new student?
2. If they've had lessons or been playing already, I ask for a demonstration and a list of things they've worked on and/or performed.
3. If they read music, I ask them to sightread something a few levels below their playing level.
4. After assessing technical abilities/deficiencies, I begin putting together an individualized plan for the first weeks for scale, chord, inversion, cadence, arpeggio, and technique assignments, and choose which of many good method books to use.
5. In every lesson I teach students how to practice effectively, with focus, and how to structure their daily practice and set daily and weekly goals. Success depends entirely on having many good practice skills.
6. I also address posture, position, relaxation, and injury prevention to avoid any discomfort , tension, and injuries.
This process is shortened and modified for younger children. I usually sit with younger beginners and play rhythm and singing games to assess these skills.
What education and/or training do you have that relates to your work?
While at NAU, I:
• Served as Graduate Accompanist (scholarship position), accompanying 5–7 vocal, brass, woodwind, and string students each semester for lessons, rehearsals, and recitals.
• Taught traditional piano to adult beginners.
• Worked as Music Librarian for the Flagstaff Symphony and NAU Orchestra.
• Performed in four orchestras, taught private lessons, and observed master Suzuki teachers.
Before NAU, I studied violin for four years with several teachers, including my late sister Kim Brimberry, Kathie Jarrett, Norma Lewis Davidson, and Joseph Kim. My piano studies began in fifth grade with Irma Greve Kluck and continued through college with distinguished instructors including Dr. George Robert (UNM), Dr. Gregory Allen (UT Austin), Dr. Steven Hall (UT Austin), Ronald Grinage (Santa Fe Opera), and Dr. Dave Scott (NAU). Over more than 20 years, I studied both instruments with more than a dozen teachers.
My orchestral experience spans 22+ years, including performances with:
• Albuquerque Youth Symphony
• Flagstaff Symphony Orchestra
• NAU Symphony & Chamber Orchestra
• Roswell Symphony Orchestra
• Lakeland Symphony Orchestra (FL)
• The Wire Choir (Odessa, TX)
• Grade school strings, chamber groups, and orchestras from 4th through 12th grades, summer music camps, and undergraduate and graduate schools, …and countless other private chamber and solo gigs at private parties, weddings, adn sepcial events, in venues ranging from Popejoy Hall to Disneyland, and world-famous concert halls in Vienna, Budapest, and Prague.
While I never pursued the narrow path of a concert artist, my broader journey—working with many teachers, playing and performin in varied ensembles and diverse settings, on two instruments—has given me a depth and breadth of experience that directly enriches my teaching. I’ve also given solo recitals on both instruments—sometimes in the same recital or concert. I performed solo and accompanied others for two years in a series of Pops Concerts in Ruidoso I helped establish along with two wonderful retired opera singers and many other talented classical and jazz musicians. Later, I served two years as Church Pianist for First Presbyterian Church in Ruidoso.
Do you have a standard pricing system for your lessons? If so, please share the details here.
Lesson length is based on playing level, attention span, and age**:
• 15 minutes – Ages 3–5 only
• 30 minutes – Ages 6–11 (Beginner to Early Intermediate)
• 45 minutes – Ages 10 + (Intermediate to Early Advanced of any age & Adult Beginners)
• 60 minutes – Advanced students & Adults any age or level.
** Age levels are subjective, depending on attention span, memory skills, previous experience, ability, and usual amount of home practice. Except for very young children, you/your child should take the longest lesson time you can afford.
Billing Method – Annual Averaging
• Rates are based on 47 teaching weeks per year, averaged over 12 months, so you pay the same amount each month.
• You choose five holiday/vacation weeks that you are not charged for—whether you take them or not. (But you are welcome to take lessons in any of those five (5) weeks.)
• Charging the same amount monthly, after averaging in these un-charged five (5) weeks, lowers the "stated" or hourly rate, making the "effective" rate -- the rate you pay -- 4–5% lower, i.e. a discount is built into the rate.
• Billed monthly in advance.
• Payment is due before the 1st of each month.
e.g. 15min. = $27.75lsn x 47wks = $1,304.25yr / 12 = $108.69mo x 7.625% GRT = $8.29 + $108.69 = $116.98mo ($117.00 rounded). [Versus $27.75 x 4.33* + GRT = $129.32mo.] You save $148.11yr.
*4.33 = avg number of lessons in any month.
On-time and Late Payment:
On-time payments receive a small discount. Late payments incur a 15% late fee.
Private Lesson Rates
• 15 min – $117/month — stated rate $27.75/lesson — effective rate $25.08/lesson. Available only for children beginners ages 3-5
• 30 min – $209/month — stated rate $49.50/lesson — effective rate $44.74/lesson. Available for children ages 5-9.
• 45 min – $276/month — stated rate $65.25/lesson — effective rate $58.98/lesson. Available for children aged 9 & up, adult beginners, and all intermediate level students:
• 60 min – $316/month — stated rate $75.00/lesson — effective rate $67.79/lesson. Available to all intermediate and advanced students.
**Monthly rates rounded up to nearest dollar.
Buddy Lessons (Young Beginners only)
Two students overlap their private lessons with a shared segment for theory, ear training, rhythm, note reading, and more. Perfect for siblings, friends, or relatives.
• 45 min [15/15/15] – $286mo for two students ($143 ea.) -- Ages 5-8
In a 45-minute Buddy Lesson, each student receives 15 mins of Private instruction, 15 mins of joint, or “Buddy” time, and 15 mins of Listening time.
Each has a 15min private lesson on either side of 15mins of Buddy time. This joint or Buddy lesson includes rhythm drills, note reading games, worksheets, activities, and more. Each student listens quietly to their buddy's lesson, before or after their time together. Both students will receive specific "listening skills training", as well. This also teaches them how to be a good audience member.
Each buddy student pays only half the monthly rate of individual 45-min lessons ($138), plus a small materials fee ($5mo).
Online Resources
I use a combination of free and subscription-based music sites for listening assignments and practice suggestions. Students are not required to subscribe, and I will try to find alternatives, but I may recommend specific sites and apps to fit their additional practice needs.
How did you get started teaching?
When I was young, she took me to her college classes—long before it was common for women to do so. I essentially grew up in a classroom. She went on to earn two master’s degrees and was ABD for a Ph.D. in Comparative Literature, studying and teaching well into her late 60s. I still have over 6,000 of her books.
Her teaching style was interdisciplinary, blending literature, history, and the arts. From her, I learned that the arts and humanities are essential for understanding our world, and that education is the foundation of reason, achievement, and fulfillment.
It was natural for me to follow in her footsteps and become a teacher. Her influence shapes every lesson I teach and I try to infuse them references to the history of the arts and humanities, to grow curiosity, connection, and the understanding that music is a vital part of both a well-rounded education and of life.
What types of students have you worked with?
All students have varying abilities. Some students are incredibly good at playing by ear, and others are better at reading music. I teach to improve many abilities, but always as if every student will eventually study music in college. I don't "dumb it down" or teach "lesser lessons" to those who only want to play for personal enjoyment. It's not up to me to judge or predict what a student may or may not eventually do. Playing an instrument well requires what it requires, regardless of our shorter term goals.
Several of my former students have gone on to study music in college and/or have developed careers in music theater, as church musicians, in orchestras, and as professional studio musicians. Others have become living room aficionados who play for friends, family, and personal enjoyment. I'm happy for all of them!!!
Describe a recent event you are fond of.
AI-Generated Mahler Symphony
An AI program generated a symphony that was so convincing it was mistaken for a lost Mahler piece, sparking debates about authenticity in classical music. This incident raised eyebrows in the classical music community, as the AI's composition was so well-crafted that it led to discussions about the future of music creation and the role of technology in art. It was both a humorous and thought-provoking moment. March 2024
And Willy Nelson had a 90th Birthday Concert in 2023. If that doesn't inspire you, nothing will...except maybe this: Willy is still alive and at the age of 91, he had missed the first eight performances of the Outlaw Music Festival due to health issues. His return to the stage was highly anticipated, and he made a triumphant comeback at his annual 4th of July Picnic in Camden, New Jersey. This performance marked his official rejoining of the tour, which featured a star-studded lineup including Bob Dylan, Robert Plant, Alison Krauss, and others.
Nelson performed a full 20-song set, showcasing a mix of his classic hits and newer material. The atmosphere at Bethel Woods (near Woodstock) was filled with warmth and nostalgia, as fans welcomed Nelson back with enthusiastic applause and cheers. His performance was marked by moments of vulnerability, as he appeared slightly out of breath at times, yet his spirit and passion for music shone through. The audience's love and support created an emotional backdrop, making the concert a memorable experience for everyone present.
Nelson's ability to engage with the audience, highlighted the timeless nature of his music and the deep bond he shares with his listeners. His performance at the Outlaw Music Festival was a poignant reminder of his legacy and the joy he continues to bring to the world of music.
Conductor's Wardrobe Malfunction
Conductor André de Ridder experienced a wardrobe malfunction when his pants split during a performance of Beethoven's 9th Symphony, leading to a viral moment. The conductor's wardrobe mishap became a humorous highlight of the concert, with the audience erupting in laughter. It served as a reminder that even the most serious performances can have unexpected moments of levity. March 15, 2025 Royal Festival Hall, London, UK
The Phantom Violinist.
A mysterious violinist appeared during a concert at the Metropolitan Opera, played a haunting melody, and vanished, leaving the audience puzzled. January 20, 2025 Metropolitan Opera House, New York, NY
What advice would you give a student looking to hire a teacher in your area of expertise?
Also, consider that not every "teacher" on YouTube is qualified or capable. Too many give terrible advice and instruction and demonstrate truly awful techniques that will impede and even harm you in the end. It can take ten times more time to "unlearn" a bad technique than to learn it correctly in the first place. There are some excellent online teachers and series, but there are still no quick shortcuts. And, unless you have outstanding tech and sound equipment you will be missing the most important factor in lesrning music: good quality sound, with all the overtones necessary to activate the centers of the brain responsible for interpreting that sound in incresingly fine ways. Remember also that, without excellent equipment, an online teacher also cannot hear you very well. That's pretty important. And, not every teacher can invest in higher-end equipment. Last, having a beautifully produced video isn't on the list of qualities that makes a good teacher good.
Hire a well-trained teacher who inspires and motivates you to do your best, who effectively communicates concepts and actions, and who cares about your artistic and personal development. They will take the time you need while keeping to a plan, and will teach you the inner discipline it takes in order to consistently progress, and to pursue advanced studies if that's your desire. But also, a good teacher will insure that you are able to continue playing—without injury—for a lifetime.
Whether you dedicate yourself to becoming a professional performer, a part-time amateur, or a living room player, you are committing to study for a period of years, so choose a teacher you think you can get along with once a week for at least a year, or several years. Pick someone you can trust with your thoughts and insecurities, whom you like and respect, who will be honest with you and push you to do your very best. And choose someone with a good sense of humor! Learning and playing music brings great joy. Plus, we need to laugh as much as we can.
"When the student is ready, the teacher will appear. When the student is truly ready...the teacher will disappear." -- Tao Te Ching
What questions should students think through before talking to teachers about their needs?
What is the approximate length of your child's focused attention span?
What sparked their interest in music and the piano or violin? Is it a genuine desire or fleeting, say, just to "keep up with" a friend.
What types of music do they already like/dislike?
What is their learning style?
Do they want to read books? Are they a good reader?
Will you have the time to help them through this journey, attend lessons, structure daily uninterrupted practice time, and assist them with practice if needed?
Can you expose them to live music occasionally, especially Classical music?
What music or pieces instantly grab and hold their attention?
Is your entire family willing to respect their need for quiet, uninterrupted practice?
When are they most alert and receptive, and can you schedule lessons and practice at those times?
Can you provide them with an instrument in good shape and maintain it with tunings or strings, repairs, and more? And will you be able to acquire increasingly better instruments over time, as their skills grow?
Can they practice six days a week, uninterrupted?
What will you do to insure they don't have interruptions?
For adult students, all of the above and:
Will you agree to practice every day?
What will be the biggest challenge to your practicing dailly?
How will you ensure that you can do this daily, every week?
What will you do to insure you don't have interruptions?
Will you need help from family or friends?
How do you think you learn best? Why?
How would you describe your learning strategies?
For all students:
Which styles, periods of music, or composers do you like the most? e.g., 1930s popular music, Beethoven symphonies, 70s Rock, Bach and Baroque, Metal, Bebop, early 20th C. Bluegrass, Romantic music, film scores, etc.
What are 2-3 things about that particular type of music do you like the most?
What/who are your specific favorite songs, instruments, pieces, artists, and performers? Why?
Which pieces/songs do you want to learn to play eventually?
Do you like to read books? Are you a good reader? An okay reader? What about math?
What and who inspires you? How can you emulate that or them?
Do/did you like school? What is/was your favorite subject in school?
Who is/was your favorite teacher, and why?
What are your musical goals?
What motivates you in general?
Who do you know who is also taking music lessons?
What are your life goals?