Piano - Violin - Theory
Piano - Violin - Theory
Blake Lewis, B.A. (Hons), M.A., RCM 10
I have always had a passion for music. After starting my musical education in band, I soon focused on the violin and piano. After only a short period of study, I began to teach and perform on both the piano and violin, and earned awards for performance and examination excellence. During this time I was a first violinist with the Calgary Civic Symphony, accompanied numerous opera singers and instrumentalists, and played in various chamber music ensembles. I went on to study music composition at the University of Calgary, and had the great pleasure of seeing several of my compositions performed, including one that went on to tour in Germany.
I have been educating students (and other teachers) in music excellence for over 15 years. My students have won numerous awards, been placed at major universities, and some went on to become teachers themselves. Although my students who have done Royal Conservatory of Music (RCM) examinations, have on the average been in the top 5% in Canada, my real pride is when they truly appreciate and understand the music they're playing and make it their own.
I owe my success in teaching to my teachers and the rich lineage of music instruction that shaped my teaching style. I was taught by an incredible line of masters that can be traced back to Brahms, Corelli, and Mozart.
I was taught the Piano by John Robertson, student of Kendall Taylor, student of Vera Dawson, student of Iwan Knorr, student of Johnnes Brahms, student of Eduard Marxsen, student of Ignaz von Seyfried, student of Wolfgang Amadeus Mozart.
In violin I was taught by Zdenek Kriz, student of Otakar Ševčik, student of Antonín Bennewitz, student of Moritz Mildner, student of Friedrich Wilhelm Pixis, student of Giovanni Battista Viotti, student of Gaetano Pugnani, student of Giovanni Battista Somis (and Giuseppe Tartini), student of Arcangelo Corelli.
Every teacher has their own unique way of guiding students along the journey to learning, understanding, and ultimately perfecting the art. However, students are also unique, and when a method works for one student, it does not mean that every student will benefit in the same way. I am not one of those teachers that continually rehashes the same instructions, week after week. When one approach does not seem to work, I adapt my methods. These methods are rooted in tried and tested European practices, with my own modern spin, designed to achieve the best results, without sacrificing the student's technique.
Even though most students do not become professional musicians, I believe that it is vitally important to teach each and every student proper technique, so that they can realize their full potential and be equipped to pursue a career in music, if they so choose. This is why I will never use some of the more common practices that only focus on getting a student to play something quickly that has no lasting value and is ultimately detrimental to the student.
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Located in Evergreen
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