Eric - Violin tutor - New York
1st lesson free
Eric - Violin tutor - New York

Eric's profile and their contact details have been verified by our team.

Eric

  • Price $65
  • Answer 3h
  • Students

    Number of students Eric has accompanied since arriving at Superprof

    26

    Number of students Eric has accompanied since arriving at Superprof

Eric - Violin tutor - New York
  • 5 (62 reviews)

$65/h

1st lesson free

Contact

1st lesson free

1st lesson free

  • Violin

Professional Violin Teacher With 8+ Years of experience in teaching and solo violinist

  • Violin

Lesson location

Super tutor

Eric is one of our best Violin tutors. High-quality profile, verified qualifications, a quick response time, and great reviews from students!

About Eric

I've developed my own technique over the years of teaching, to make sure that the student is able to apply what he learned within the same week.

I regularly perform with orchestras and participated in more than 40 international concerts.

So I have not only experience teaching, but I still practice and actively play violin.

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About the lesson

  • Beginner
  • Intermediate
  • Advanced
  • +6
  • levels :

    Beginner

    Intermediate

    Advanced

    Professional

    Kids

    1st Year

    2nd Year

    3rd Year

    4th year

  • English

All languages in which the lesson is available :

English

I like to teach students using sheet music, and a little bit of by ear training.

I use 50% theory, and 50% application to make sure that the students apply what they learn.

I tend to keep the classes interactive so the student keeps interest

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Rates

Price

  • $65

Pack prices

  • 5h: $325
  • 10h: $649

online

  • $65/h

free lessons

The first lesson with Eric will allow you to get to know each other and discuss your needs for future lessons.

  • 1hr

Learn more about Eric

Learn more about Eric

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

    It kind of snuck up on me. My uncle used to come over on Sundays and blast records — a lot of jazz, a lot of soul — and there was this one tune with a saxophone in it that I just couldn't get out of my head. I was maybe 11. Then in middle school the band teacher was short on sax players and handed me this old beat-up alto and said "good luck." I was awful for about a year, all squeaks and wrong notes, but I didn't care, I was hooked. That horn's been my main thing ever since.
  • 2) Is there a particular type of music or artist that you listen to on a loop without it driving you crazy?

    For me it's the opposite of background music — I want something I can really sink into. I could listen to D'Angelo or Stevie Wonder all day and not get tired of it; there's so much packed into those records that you catch something new every time. And I love stuff with vocals, to me the voice is just another instrument. The one record I've completely worn out is probably Kind of Blue. I've heard it a thousand times and it still gets me.
  • 3) Explain to us the most difficult or riveting course you could personally give to a student of music.

    The hardest thing to teach — and also my favorite — is improvising. Getting someone to actually make something up on the spot. The notes aren't really the problem, you can teach the scales in an afternoon. The problem is fear. Most people freeze because they're terrified of playing a "wrong" note, and you have to slowly convince them there are no wrong notes, just notes you didn't mean and then have to make sense of. Watching someone take their first real solo, even a clumsy one, and seeing their face when they realize they did it — that's the best part of this whole job.
  • 4) What do you think is the most complicated instrument to master and why?

    Everyone says violin or French horn and they're not wrong, those are brutal. But I'd say the human voice. With any other instrument, if something's off you can fix the reed, adjust a valve, whatever — there's a machine sitting between you and the sound. With singing, the instrument is you. You can't see it, you can't take it apart, and it changes depending on whether you slept well or you're stressed or you're getting a cold. Plus there's nowhere to hide. A wrong note on sax is just a wrong note; a cracked note when you're singing feels personal. I have huge respect for great singers.
  • 5) What are your keys to success?

    I think the people who get good fastest aren't necessarily the ones who practice the most hours — they're the ones who listen the most and play with other people as much as they can. You learn a crazy amount just from being in a room with musicians who are better than you and trying to keep up. And you have to be okay sounding bad in front of people. The students who protect their ego and only ever practice alone, where no one can hear them, tend to stall out. Listen a ton, play with everyone, embarrass yourself a little — that's the recipe.
  • 6) Name three musicians you dream of meeting in your favourite bar in the early hours of the morning. Explain why.

    Charlie Parker, Stevie Wonder, and Fela Kuti. Bird because he basically invented the language I'm still trying to speak on the sax, and I'd love to just hear him talk through how his brain worked. Stevie because the man is pure joy and could probably play every instrument in the bar before sunrise. And Fela because if anyone knows how to keep a night going until the early hours, it's him — his shows in Lagos ran all night. That table would be a beautiful mess by 4am and I'd love every second of it.
  • 7) Provide a valuable anecdote related to music or your days at music school.

    First real gig I ever played, the bandleader pointed at me out of nowhere in the middle of a tune and mouthed "solo." I hadn't planned anything, my mind went completely blank, and I just started playing whatever my fingers landed on. I was sweating. Three or four bars in I hit a note that was technically "wrong," panicked, and then sort of leaned into it and bent it into something that worked — and the bass player grinned and the crowd reacted. After the show the bandleader told me he threw me in on purpose, because I'd never take a real risk if he warned me first. That night taught me more than a month of lessons. The live moment doesn't care if you're ready — you just go.
  • 8) What are the little touches that make you a Superprof in music?

    I always start with the music the student already loves, not what a textbook says they should learn. If a kid wants to play a song off the radio, we're learning that song in the first lesson, even a stripped-down version of it — because feeling like you can actually play something real keeps people coming back way more than drills do. I keep things loose and low-pressure; nobody plays well when they're worried about being judged. And I try to make the lesson feel less like studying and more like just hanging out and making music together. When someone leaves grinning, I know it went well.
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