Youth Conservatory

Faculty Directory

Youth Conservatory Teachers 2014-2015

Bronze

Robyn Abrahamson

Arthur Floyd

Michael Lechner

BreAna Shaw

Jacqueline Winterton

Eliza Nelson

 

Silver

Brittany Jarman

Brittney Mattison

Lisa Richards

Sierra Summers

Shanelle Winkel

Taylor Packer

 

 

 

Gold

Mark Gubler

Lindsey Lee-Pope

Sara Mason

Ashley Weiss

 

 

 

 

 

 

 

Graduate

Lauren Belliston

Brody Craney

Krystal Kunz

Lizzy Prettyman

John Price

Aubrey Moeller

Allison Ward

 

Faculty

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

Emily Ezola, M.M., B.M., Utah State University – YC Program Coordinator

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 – Director; USU Piano Faculty

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

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

 

Search Options
Browse:    ALL  A  B  C  D  E  F  G  H  I  J  K  L  M  N  O  P  Q  R  S  T  U  V  W  X  Y  Z 
Mark Gubler

Mark Gubler

Cell Phone:  435.669.5546
Faculty Status:  Gold

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.