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Amy

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  • Hourly rate $47
  • Response Time 2h
  • Number of students 13
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1st lesson free!

1st lesson free!

Professional musician (bassoon/piano). Has taught for Junior Royal College of Music, British Double Reed Society, Musicians' Company, Uppingham School, and Triborough Music Hub. London/Online Lessons

    • London
    • at her home
    • at your home
    • webcam

Ambassador

We host the best tutors. Quality of their profile, experience in their field. Amy will be happy to arrange your first lesson Music Reading.

About the lesson

I teach:
-Bassoon
-Piano/Keyboards
-Baroque bassoon
-Theory
-Chamber Music
-Reed-making
Please ask if you are interested in other subjects.

My overriding goal when teaching is to ensure that students find lessons enjoyable and fulfilling. Have a think about what you might like to achieve; perhaps a performance, exam, or learning for fun. It's totally up to you!

I like to teach my students how to practise effectively, so that they can make improvements independently and therefore improve more quickly.

I am known for being an enthusiastic teacher, well-suited to children, and have experience with students as young as 5 years old. This includes group lessons and outreach, with up to 60 pupils at once. However, I also enjoy teaching adult learners, who tend to be more intrinsically motivated, and are often very interesting people!

I teach at £35/hour, and my rates for half hour and 45 minute lessons are equivalent. I.e. £17.50 for half an hour, £26.25 for 45 minutes. Depending on where you live, I might need to factor travel expenses into the cost. However, I have been teaching students over Skype during lockdown (including young children), and this has worked incredibly successfully. This might also be an option, and does not require any additional technology e.g. microphones. Skype is perfectly fine.

subjects

  • Music Reading
  • Bassoon

languages

  • English

levels

  • Beginner
  • Intermediate
  • Advanced
  • +8

    Proficient

    children

    1st year

    2nd year

    3rd year

    4th year

    Graduate Student

    PhD

About Amy

For more information: althompson363@ hotmail.co.uk

Amy Thompson is a Musicians' Company Lambert Scholar at the Royal College of Music in London, studying with Roberto Giaccaglia, Martin Gatt, Joost Bosdijk, and Emily Hultmark. Amy is also a current participant of the ENO Evolve Scheme.

As a soloist, Amy performs regularly for the British Double Reed Society, as well as leading ensembles and lessons at their Park Place courses. Amy has also been active in promoting new music, including the world premiere of a work for unaccompanied bassoon at the National Portrait Gallery (composed by Andrew Mulhern). In 2016, Amy was an Artist in Residence at the Museum of Science and Industry in Manchester, working with Anna Meredith to compose and perform music for the opening of Wonder Materials: Graphene and Beyond. In 2014, she performed Bach’s G minor Harpsichord Concerto as soloist with members of the Berkeley Ensemble, and has appeared with Blackburn Symphony Orchestra. Amy has also given multiple recitals at the Lansdowne Club, London, and at the International Anthony Burgess Foundation, Manchester, alongside bassist Leon Bosch. This year, she will be performing at the Investec International Music Festival in a series also featuring Jess Gillam and the Tallis Scholars (subject to coronavirus restrictions).

Amy’s orchestral work includes performances with the Brandenburg Sinfonia, John Lewis Partnership Music Society, and St Paul’s Sinfonia. Amy is a passionate chamber musician, and recently recorded bassoon quartets for Hyperion Records with Laurence Perkins. In addition to this, Amy is a member of the Tailleferre Ensemble, whose concerts aim to promote the work of female composers, including a performance celebrating International Women's Day at the Conway Hall and, in the near future, a tour of Florida in collaboration with the South Florida Chamber Ensemble.

Over lockdown, Amy set up a series of Zoom sessions for bassoonists. These have included masterclasses with Ursula Leveaux (freelance with most major UK orchestras), Jos de Lange (Concertgebouw), Sophie Dervaux (Berlin Philharmonic), and Nikolaj Henriques (CBSO).

Amy is a dedicated and enthusiastic teacher. She has worked with students at Junior RCM, Uppingham School, the Triborough Music Hub, British Double Reed Society, and the Musicians’ Company. She is comfortable teaching students of all ages, but is known for being especially good with children, having set up and run a youth orchestra for primary-age students. In her spare time, Amy enjoys making and selling scented bassoon reeds, playing a brightly coloured cello, and outdoor swimming.

Rates

packages

  • 5h: $235
  • 10h: $470

webcam

  • $47/h

free lessons

  • 30mins

Video

Find out more about Amy

  • 01

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

    My first instrument was the violin, which I did not enjoy one bit! It wasn't really my choice to learn an instrument, and I didn't understand why it was in my best interests to spend time practising. It's safe to say, I was an absolutely terrible student.

    I then started piano, and later bassoon, and began to enjoy it much more. I'm not really sure why; I think it was because I chose to play these instruments, and was therefore highly intrinsically motivated.

    Although I am now deeply passionate about all things musical (ask anyone who knows me... or who has just spent a few minutes with me), I believe my experience as an horrific violin player affords me the ability to empathise with certain students who have not quite taken to music yet. There is hope!

  • 02

    Is there a particular type music or artist that you listen to on a loop without it driving you crazy? Mahler! I love his symphonies, especially the first six. Although that would be a very long loop, at over 10 hours. I'm also rediscovering Tchaikovsky's 4th Symphony; I'd forgotten how awesomely groovy it is!

    Mahler! I love his symphonies, especially the first six. Although that would be a very long loop, at over 10 hours. I'm also rediscovering Tchaikovsky's 4th Symphony; I'd forgotten how awesomely groovy it is!

  • 03

    Explain to us the most difficult or riveting course you could personally give to a student of music.

    My particularly interesting teaching areas include improvisation (because this is an unfamiliar skill for most classically trained musicians), and folk music. I would teach folk music mainly by ear, which can be a much more tactile way of creating music.

  • 04

    What do you think is the most complicated instrument to master and why?

    Hmm. French horn has a bit of a reputation, as does the oboe. I think people expect the bassoon to be challenging, but most people are able to produce a few notes relatively quickly. Personally, I find the flute very tricky because it makes me feel a bit dizzy! I am used to creating pressure around a reed (on the bassoon), so it is weird to play an instrument with nothing to blow against. In terms of sightreading, piano is definitely much harder than bassoon, but I find that piano requires less energy to practise than a woodwind instrument.

  • 05

    What are your keys to success?

    Practice technique. By which I mean working out how to practise effectively. Most of your time will be spent without a teacher in the room, so it is important to learn how to improve your own playing. As many of my fabulous teachers have said, "you should eventually do me out of a job"!

  • 06

    Name three musicians you dream of meeting in your favourite bar in the early hours of the morning. Explain why.

    Klaus Tennstedt. He's my favourite Mahler conductor, and we'd have an absolute field day discussing interpretations!
    Jacqueline du Pre. There's something very special about her... but a few different ideas as to her personality. I want to meet her and see for myself. And PLAY with her. Interestingly, one of my teachers did go and play duets with her every so often. I am very jealous!
    Tchaikovsky. He had a fairly horrible life, in some respects, so I'd love to go back in time, give him a big hug, and show him how the world changes over the next few hundred years.

  • 07

    Provide a valuable anecdote related to music or your days at music school.

    Well... I'll never forget playing Mahler 1 on empty lemonade bottles. Or composing and rehearsing outside next to a rubbish skip (and then, obviously, naming the piece after the French word for 'skip' just to make it sound fancy). Or improvising with rap artists, on bassoon.

  • 08

    What are the little touches that make you a Superprof in music?

    A genuine love for music, coupled with experience in a wide range of educational settings. I see learning as a team effort; we're working together to improve, and I'm here to help as needed.

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