Top Violin Lessons & Teachers Near Me (You) in Canada

Top Violin Teachers offering some of the best local Violin Lessons Near Me (You) - Learn as a child or take adult Violin lessons - Specialist Violin lessons for beginners available so you can see results fast!

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How to learn to play Violin

Obviously the first step would be to take Violin classes… We have many choices for you under Violin Lessons where you will be able to find all kinds of Violin tuition.  When choosing your Violin teacher, you should be looking at their experience in teaching, the reviews they’ve received and the amount of recognition they give their students.


Learn to play Violin for fun

If you’re not interested in taking exams you will want to make sure the Violin lessons are available in your favourite genre. The most important thing is to know why you want to learn Violin and what you want to achieve.


Learning how to play Violin must be an enjoyable experience because like any musical instrument you will need to practice a lot. This is why we encourage all our Violin teachers to set achievable goals for their students and give you praise when you achieve them!


Adult Violin Lessons for Beginners

It’s never too late to learn to play Violin! Our Violin teachers will be able to take you through step by step Violin lessons on how to play the Violin, as many of them have experience in Violin lessons for adults.

Did you know you can also search for Violin lessons & teachers using CAZ in the United KingdomUSAAustralia & New Zealand too?

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Maggie Music LLP
0 Reviews
Violin Viola Guyonne Le Louarn is the assistant principal viola with the Vancouver Island Symphony and is on faculty at the Victoria Conservatory of Music. Guyonne also teaches at Shawnigan Lake School and is the coordinator of the Independent Music Program at St.Margaret’s School. Guyonne holds an AVCM from the Conservatory of Music (Victoria) in viola, violin and chamber music coaching, a Silver medal from the Conservatoire Supérieur de Paris (France) in viola and multiple gold medals and diploma from the Nantes Conservatory, in violin, viola, chamber music, theory, conducting and early music. She maintains a busy career as a soloist, chamber and orchestral musician. She has won numerous competitions both on France and Canada. As a freelance musician, she has performed with many orchestras, including the Victoria Symphony Orchestra. Her performing career has taken her all over Europe and Canada and as far as Oman. For the past 20 years, Guyonne teaches Viola, Violin, and Chamber Music to students of all ages and levels both in English and French. Douglas Hensley Guitar dep Douglas Hensley received Bachelor’s and Master’s degrees in guitar performance from the San Francisco Conservatory of Music. Mr. Hensley has significantly enriched the guitar’s repertoire by commissioning and premiering over 60 works by composers from many different countries, and he has recorded a wide variety of pieces on various instruments. Mr. Hensley is on the faculty of the Victoria Conservatory of Music, where he teaches guitar, lute, ukulele, mandolin and banjo, as well as the classical Persian instruments tar, setar, santur, and oud, which he studied with several Iranian masters in California and Paris. He has taught St Margaret’s students since 1998. Joyce Menting Ellwood, Cello Joyce Ellwood is a member of Victoria Symphony Orchestra, and has performed with the Pacific Baroque Orchestra and as a chamber musician with a variety of chamber organizations on the Island. Her studies included conservatory study and master classes with several of the most celebrated cellists and teachers. Annabelle Stanley , Harp Annabelle Stanley is the Principal Harpist of the Victoria Symphony and Pacific Opera Victoria. She is also the Harp Instructor at the Victoria Conservatory of Music and UVIC.
guyonne Le Louarn
0 Reviews
As a teacher, I try to understand the difficulties and the needs of each of my pupils. I try to steer the student on a path that goes from learning how to hold the instrument, to how to find, express and share their feelings, as well as nurturing their imagination and giving them the drive to accomplish something by themselves for themselves. It cannot be done without the moral support of the families, because adults know a little better than a child does. Because together, we foresee the good of standing by a commitment to practice. Because we know and anticipate that time needs time and good things are worth waiting and working for. We know it will help the child to tackle school and university. We know it will help the future adult to apprehend life, adversities and decisions with the peace of mind that knowledge conveys, and the comfort of knowing what they can achieve. Together, we can make sure our children grow with a sense of belonging to a world that has a past and therefore a future. As a performer, I do not produce anything. At the end of a concert, the audience does not leave with a tangible object. Unlike engineering or construction, there is nothing concrete or real happening except that the audience shared an ethereal moment with the performer. Whether the audience liked or disliked the performance. They felt something. The audience members got in touch with their feelings and emotions and hopefully will get a memory to take home. That is what I am thriving for on stage and that is what I dare to teach to a new generation, which I think, is sadly turned towards an immediate use of knowledge, discarding anything that is not of concrete and instantaneous use. It takes about 15 years to foster a musician amateur or professional. The starting years are hard, particularly with strings, not because it squeaks, but much more because we need to learn discipline, tenacity, hard work and introspection at an early age when we just want to get out and play obliviously. Violin has that particularity to get a child to face the reality of “I did it or I didn’t do it right” from the very first day. We need to plant the seed and awaken the curiosity for this “Useless knowledge” called General Culture in our Children to open up to them the wonderful world of endless imagination, infinite possibilities and projects, one note at a time. ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ En tant que professeur, je cherche à comprendre les difficultés et les besoins de chacun de mes élèves. J'essaie d'orienter les étudiants sur un chemin qui va d'apprendre à tenir l'instrument, à la façon de trouver, exprimer et de partager leurs sentiments, ainsi que nourrir leur imagination et les incitant à accomplir quelque chose par eux-mêmes pour eux-mêmes. Cela ne peut se faire sans le soutien moral des familles, parce que les adultes savent un peu mieux que l'enfant. Parce qu'ensemble, nous prévoyons le bien de se tenir aux engagements de pratique. Parce que nous savons et nous prévoyons que le temps a besoin de temps, que les bonnes choses valent la peine d'attendre et de travailler. Nous savons que cela armera l'enfant pour l'école et l'université. Nous savons que cet enseignement aidera le futur adulte à appréhender la vie, les adversités et les décisions avec la tranquillité d'esprit que donne les connaissances , et le confort de savoir ce qu'il peut réaliser. Ensemble, nous pouvons nous assurer que nos enfants grandissent avec un sentiment d'appartenance à un monde qui a un passé et donc un avenir. En tant qu'interprète, je ne produis rien. A la fin d'un concert, le public ne repart pas avec un objet tangible.Contrairement à l'ingénierie ou à la construction, rien de concret ne se fait, sauf le partage d'un moment éthéré et éphémère avec l'interprète que le public ai aimé ou haï la performance. Chacun a ressenti quelque chose.Chaque membres de l'auditoire est entré en contact avec ses sentiments et émotions et chacun, je l'espère, repart avec un souvenir. C'est ce que j'essaie d'obtenir à chaque concert et c'est ce que j'ose enseigner à une nouvelle génération, qui, je pense, est malheureusement tournée vers une utilisation immédiate des connaissances, rejetant ce qui n'est pas de l'utilisation concrète et instantanée. Il faut environ 15 ans pour favoriser la naissance d'un musicien amateur ou professionnel.Les premières années sont difficiles, en particulier avec les cordes, non pas parce que cela grince, mais beaucoup plus parce que nous devons apprendre la discipline, la ténacité, le travail acharné et l'introspection à un âge précoce où nous voulons juste sortir et jouer inconsciemment. Le violon a cette particularité de mettre un enfant face à la réalité de "J'ai fait ou je n'ai pas bien fait les choses" et ce dès le premier jour. Nous avons besoin de semer et d'éveiller la curiosité pour cette «connaissance inutile» appelé la culture générale en nos enfants pour voir s'ouvrir à eux, le monde merveilleux de l'imagination sans fin, des possibilités et des projets infinis , une note à la fois.

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