Sasha's profile, diploma and contact details have been verified by our experts
Sasha
- Rate 240AED
- Response 2h
-
Students15
Number of students accompanied by Sasha since their arrival at Superprof
Number of students accompanied by Sasha since their arrival at Superprof
240AED/hr
Contact
- Music Theory
- Composition
- Musicology
- Orchestration
- Chamber Music
Experienced composer, typesetter, and performer of new music who has given world premières of works by many distinguished composers; academic researcher of contemporary compositional praxis
- Music Theory
- Composition
- Musicology
- Orchestration
- Chamber Music
Lesson location
Super Prof
Sasha is one of our best Music theory tutors. They have a high-quality profile, verified qualifications, a quick response time, and great reviews from students!
About Sasha
I am active both as a musician and as an academic. As a pianist, I am a prolific performer of new music, notably with the London New Wind Festival, a contemporary-music ensemble with which I have played regularly since November 2019. I have also performed professionally as a harpsichordist, in which capacity I was engaged by the Royal Scottish National Orchestra to give three world premi ères and a composition workshop in March 2018. My recent academic research is focussed on investigating contemporary compositional praxis in Western classical music, interrogating the affordances and limitations of archival papers
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About the lesson
- All Levels
- English
All languages in which the lesson is available :
English
I can teach general music theory, including figured bass, to abilities from the complete beginner to degree-level, as well as specialist topics including fugue, classical improvisation, and pitch-class set theory. Music theory is an integral facet of performance and composition, as well as being a fascinating, provocative, and intellectually locupletative discipline in its own right. It is often lauded for its elucidatory potential, ameliorating our capacity to appreciate patterns and phenomena in music, thus enhancing our musicality, from its practical demands such as sight-reading and memorising to the mysterious art of interpretation. Whilst mindful of this, I believe that there is far more to theory and analysis than simply clarifying that which is readily discernible: the study (and application) of theoretical discourses is also locupletative as an end in itself, one which can sometimes elicit contradiction and subversion, as opposed to simply complementing other approaches. Analysis is at its most fascinating when it reveals that which we cannot readily hear. A crucial facet of understanding any theory is an awareness of its limitations and bias: notwithstanding the highly quantitative — arguably scientific — systems that certain theoretical discourses utilise, the methodology and underlying assumptions leave much scope for subjectivity. Furthermore, it is always important to consider the manner and means by which an approach may be reductive, and observe that which is omitted as much as that which remains. Such considerations can be illuminated by reference to aesthetics, philosophy, and musical context. Whilst I am strongly opinionated in my creative outlook and interests, it is not my aim to produce a stylistic clone in a composition student. Indeed, it is my belief that the best composition pedagogues are those whose students have gone on to embark in radically different directions from each other. Such diversity notwithstanding, there is much to be said for cultivating a highly disciplined approach to acquiring the rudiments of writing music, entailing a rigorous and graduated study of harmony and counterpoint alongside intrinsically creative endeavours (of course, it would be simplistic and counterproductive to construe "theoretical exercise" and "creative endeavour" as mutually exclusive: many of Bach’s greatest works were theoretical experiments in the possibilities of counterpoint). Many of the most subversive and revolutionary composers possessed an encyclopaedic knowledge of music theory (most notably Schoenberg, who wrote several treatises thereon), and there is some veracity in the cliché, that "you need to know the rules before you break them". I insist upon high standards of clarity and presentation in the layout of scores and parts, irrespective of the notational specificity (or lack thereof) and lexicon. Drawing on my wealth of professional experience as a composer, arranger, typesetter, editor, and performer, I can offer detailed advice and feedback on matters of house style and notational conventions (as well as such mundane practicalities as page-turns and cues), in order to equip the student to communicate effectively through music notation, and thereby maximise his/her chances of obtaining performances that present his/her ideas in a positive and compelling light. To enable adequate deliberation and reflection during the process of distilling musical ideas into notation, I believe it is essential for the student to undertake a physical engagement with the act of writing music (which is necessarily and unavoidably time-consuming). Therefore, I expect my students to draft compositions by hand; computer software may be used to prepare fair copies, once a thorough grasp of the rudiments of music engraving has been attained.
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Recommendations
Recommendations come from relatives, friends and acquaintances of the teacher
4
Sasha accompanied my son for his Grade 8 ABRSM Singing exam. They had a rehearsal a few days before the exam where they ran through the pieces together to make final adjustments etc. He was helpful and friendly at all stages. Sasha is an accomplished player and was highly professional and reliable. I would certainly recommend him to other students.
Sasha is very dedicated tutor who makes your own goals his personal goal.
I had approached Sasha to accompany my daughter on her ARSM Diploma exam, not just in the capacity of an accompanist, but also as a coach who can guide her performance and correct as necessary. Sasha did an exemplary job of this, and in a short span of time, my daughter was able to progress to the level needed for the exam.
Sasha is always so generous with his time in giving feedback. He explains in a lot of detail what the student needs to do, to improve and I find this a very respectable, rare and unique quality as I have had accompanists in the past who have been so hasty to leave and giving some form of feedback was an inconvenience.
Sasha also immensely helped out with the kit for the recording as well as an unbelievable amount of post-recording support in terms of submitting the clip to ABRSM.
We are forever grateful for this support.
Sasha also teaches Maths - i only found this out quite late or I would have enrolled Maths classes for my daughter with Sasha too, which I have no doubt would be a very productive experience.
Overall, we could not have asked for a better experience. Sasha truly is one in a million and to work with his is simply an absolute pleasure.
I highly recommend Sasha - he is in a league of his own!
Thank you so much Sasha xSasha was warm and energetic in providing guidance and piano accompaniment to my son in preparation for his grade 1 saxophone exam, which we are pleased to say resulted in a Merit outcome.
Sasha has provided expert, tailored and exceptional music aural training to my children. His up to date knowledge of each syllabus, plus the ability to create bespoke sessions, has ensured success in exams and auditions over a number of years, and no doubt many more to come.
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Rates
Rate
- 240AED
Pack prices
- 5h: 1,201AED
- 10h: 2,403AED
online
- 240AED/h
Travel
- + 8AED
Details
Minimum lesson length: 45 minutes Travel surcharge applies for home visits. Payment falls due on the day of the lesson, and may be made by cash, cheque drawn on a UK bank, or bank transfer (to my UK bank account). I do NOT accept payment via PayPal.
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