Youth Conservatory

Faculty Directory

Youth Conservatory students may study with faculty or students in the USU piano program. Student teachers are tiered based on experience, and tuition costs are relative to the tier.   

Bronze

Robyn Abrahamson

Brittany Bowers - Office Assistant

Arthur Floyd

Brady Fry

Michael Lechner

Brittney Mattison

Taylor Packer

Lisa Richards

BreAna Shaw

Shanelle Winkel – Office Assistant

Jacqueline Winterton 

Jennifer Hansen

Silver

Ashley Benjamin

Lizzy Davis – Theory Instructor

Mark Gubler – Theory Instructor

Sara Mason – Theory Instructor

Kyle Mckenna

Bradley Taylor

Gold

Lindsey Lee-Pope – Theory Instructor

Stephanie Price

Ali Snow

Carly Stanger

Ashley Weiss – Theory Instructor

 

 

 

 

 

 

Graduate

Lauren Belliston, B.M., Utah State University

Brody Craney, B.M., Utah State University

Aubrey Moeller, B.M., Utah State University

Krystal Kunz, B.M., Utah State University

 

Faculty

Gary Amano, M.M., B.S., The Juilliard School – Founder, USU Piano Program Head

Emily Ezola, M.M., B.M., Utah State University – Program Coordinator; Theory Instructor

Luke Hancock, M.M., B.M., Utah State University – USU Piano Faculty

Brooke Hirst, M.M., B.M., Utah State University – Account Manager

Dennis Hirst, M.M., U. of Oklahoma, B.M., Bowling Green State University – Financial Adviser; USU Piano Faculty

Kevin Olson, Ed. D. National-Louis Univ., M.M., B.M. Brigham Young University – Director, USU Piano Faculty

Ewa Wilczynski, M.M. Marie Curie University, Poland – Theory Instructor

 

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Mark Gubler

Mark Gubler

Cell Phone:  435.669.5546
Faculty Status:  Silver; Theory Instructor

The more students are prepared to learn, the more they will find joy in their lessons and overall musicianship. As a result, I make it a personal goal to help students understand what they need to do to prepare for lessons, and progress as musicians. For beginning and intermediate students I have most experience teaching from the method books published by Alfred, as well as the Piano Adventures books published by Faber. However, every student learns differently, and I am open to teaching from other methods that better cater to their individual needs. Advanced students will be assigned a more rigorous repertoire including music from the great composers. To help students become well rounded musicians and reach their highest potential they will be assigned technical exercises suited to their level (for example: 5 finger patterns, scales, arpeggios, chords, etc.) as well as theory, aural, rythmic, and improvisational activities as needed. I am very open to consider pieces my students are particularly interested in, but I will also expect them to work on assigned pieces that will help them stretch as individuals. Students will not be required to memorize everything they play, but they will be required to memorize several recital pieces each year. Parents will be invited to sit in during the lessons, and practice with students when possible.