- 單簧管老师 - New York
免費試聽課
 - 單簧管老师 - New York

他是最適合的老師了。品質的個人資料、卓越的文憑、有保證的反饋。 Daniel pierre 將精心安排你的第一節 單簧管 課程。

Daniel pierre

他是最適合的老師了。品質的個人資料、卓越的文憑、有保證的反饋。 Daniel pierre 將精心安排你的第一節 單簧管 課程。

  • 每小時收費 HK$ 313
  • 平均答覆時間 2小時
  • 學生

    Nombre d'élèves que Daniel pierre a accompagné depuis son arrivée sur Superprof

    11

    Nombre d'élèves que Daniel pierre a accompagné depuis son arrivée sur Superprof

 - 單簧管老师 - New York
  • 5 (28則評論)

HK$ 313/小時

免費試聽課

聯絡

免費試聽課

免費試聽課

  • 單簧管
  • 薩克斯管
  • 笛子
  • 牧童笛

萨克斯、单簧管、长笛和竖笛在线教师 —— 仅提供英语授课 —— 音乐学士学位,拥有20多年教学与演出经验

  • 單簧管
  • 薩克斯管
  • 笛子
  • 牧童笛

課程地點

超級教授

「超級教授」是目前Superprof最高級別的老師,代表優秀的個人資料、出色的文憑,以及有保證的反饋時間。 Daniel pierre 將精心安排你的第一節單簧管課程。

關於Daniel pierre

我是一名木管乐器在线教师,仅使用英语授课。通过 Zoom 提供萨克斯、单簧管、长笛和竖笛课程,适合 5 至 81 岁的儿童和成人,即使没有任何音乐基础也欢迎参加。

课程为一对一教学,根据学生的个人节奏进行,并完全按照每位学生的需求量身定制。教学重点包括耐心、正确的发音与音色控制,以及演奏的乐趣。

我通过熟悉且受欢迎的歌曲进行教学,使学生能够在学习初期就开始演奏,同时建立扎实的音乐基础。

课程适合初学者及进阶学生,并可通过 Zoom 在家中轻松学习音乐,配合个性化指导和专属学习计划。

我毕业于耶路撒冷音乐学院,是一名优秀的音乐家,拥有超过 20 年的教学与演出经验,活跃于以色列及国际舞台。

萨克斯、单簧管、长笛和竖笛在线课程,适合寻找经验丰富、专业、注重个性化教学与系统进步的教师的学生。

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關於課程

  • 基礎
  • 進階
  • 高級
  • +10
  • 學習程度 :

    基礎

    進階

    高級

    專家

    兒童

    1er cycle

    2e cycle

    3e cycle

    4e cycle

    CEM

    DEM

    DE

    CA

  • 中文

課程使用的所有語言 :

中文

课程仅使用英语,通过 Zoom 在线进行,并根据学生的学习进度安排。

在课程中,我们使用我通过 WhatsApp 发送的数字教材(电子书和教学文件),并通过屏幕共享共同学习。如学生愿意,也可订购纸质教材。

在最初的课程中,我教授乐器的正确持法与演奏技巧。当学生逐步建立对音色的控制后,我们将按照教材系统推进。所有课程均以高度的耐心进行,并充分关注学生及其个人需求。我的目标是帮助学生实现他们的学习目标。

每节课后,我会通过 WhatsApp 发送书面作业,供学生为下一节课准备。

我还协助学生租赁或购买适合的乐器,并指导选择最适合他们的配件。

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價格

每小時收費

  • HK$ 313

套餐價格

  • 5小時: HK$ 1565
  • 10小時: HK$ 3131

網絡視像

  • HK$ 407/小時

免費試聽課

Daniel pierre 提供的第一堂課將讓你們互相認識,你也可以在試聽課中提出你對課程的需求。

  • 30分

視頻

更多關於Daniel pierre的資訊

更多關於Daniel pierre的資訊

  • When did you first develop a passion for music and your instrument?

    I grew up in a family of musicians. Even while I was still in my mother’s womb, I was listening to Mozart, Beethoven, many other classical composers, and jazz music at home and at concerts where my father performed.
    My father was a professional oboist in the Israeli National Chamber Orchestra, but he was also a saxophonist. While studying for his bachelor’s and master’s degrees at Juilliard in New York, my father's dream was to become a jazz saxophonist.
    I heard my dad play the saxophone a lot at home and during holiday events he produced for the community at our kibbutz in Israel. At the age of 13, after giving up on the cello, I asked him to teach me the saxophone. He let me play his vintage alto saxophone, which I still play and teach with to this day. That’s how my first passion for the saxophone began.
  • Is there a particular type of music or artist that you listen to on a loop without it driving you crazy?

    When I’m mopping the floor, washing dishes, cooking, or just relaxing with my girlfriend in the evening, I can listen for hours to saxophone solos by John Coltrane, Cannonball Adderley, and Gerry Mulligan.
    I imagine their solos as casual conversations they’re having with their friends—and with me. I invent dialogues and monologues in my head that take place within the solo. It keeps me engaged, develops my imagination, relieves boredom, and makes me feel like they’re speaking directly to me.
  • Explain to us the most difficult or riveting course you could personally give to a student of music.

    Preparing a classical piece for a saxophone audition—such as Alexander Glazunov: Concerto in E-flat Major, Op. 109 for Alto Saxophone and Orchestra—can be one of the most difficult, fascinating, and challenging courses I could offer a student.
    If the student is truly preparing to perform the piece as a soloist with an orchestra, the challenge becomes even greater. Preparing students for solo concerts on flute, clarinet, or recorder can be just as demanding and rewarding.
  • What do you think is the most complicated instrument to master and why?

    Each of the instruments I teach is complex to fully master when you aim for a high professional level.
    On the saxophone, the main difficulty is playing softly, especially in the low register.
    On the clarinet, the challenge lies in the throat tones and the transitions between octaves.
    On the flute, it is difficult to play with the same intensity and control across all registers.
    On the recorder, the main challenge is breath control, since it is extremely sensitive to changes in airflow.

    If I had to choose one instrument that is the most difficult to fully master at a high performance level, it would be the clarinet, because the transitions between the first and second octaves are particularly demanding and require a very high level of technical skill.
  • What are your keys to success?

    My keys to success are, first and foremost, humility—understanding that you don’t know everything and that there is always something to learn from others—along with hard work, perseverance, and a constant striving for excellence.
  • Name three musicians you dream of meeting in your favourite bar in the early hours of the morning. Explain why.

    I’m not really the type who goes to bars in the early hours of the morning, and I’m quite cautious around drunk people, especially in the city rather than in my kibbutz community, where I know everyone.
    But if I had to choose musicians I’d dream of meeting in a bar late at night, they would be female singers I deeply admire, such as Blondie (Deborah Ann Harry), Anni-Frid Lyngstad from ABBA, and James the Seventh who sings Trauma Olympics.
  • Provide a valuable anecdote related to music or your days at music school.

    I didn’t originally plan to pursue a bachelor’s degree in music, but my saxophone professor suggested that I join the Jerusalem Saxophone Quartet—an internationally recognized ensemble—while I was serving in a special talent role in the army.
    The condition for joining the quartet was to be a student at the Jerusalem Academy of Music. That’s how I began my studies there. For two years, I played in the academy’s flagship ensemble. The academy funded our flights worldwide, and we represented it in prestigious concerts for government institutions and international audiences. Other students admired us greatly.
  • What are the little touches that make you a Superprof in music?

    I am a musician with over 30 years of experience on saxophone, flute, clarinet, and recorder. I come from a long and rich family tradition of musicians. Studying with me means learning from a true expert—someone with great patience and genuine love for his students and for the wind instruments he teaches.
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