PRIVATE STUDY

Richard Boukas at a recent Artist Residency.

SEE BELOW FOR LIST
OF LESSON TOPICS

Richard maintains a robust teaching studio dedicated to private and semi-private study in a wide scope of styles, eras and levels.

An internationally acclaimed educator with forty years of university teaching experience, Richard designs a custom-tailored course of study to serve each musician's unique interests and plot a solid path to higher levels of creative expression, technical fluency, mastery of music notation, transcribing and theoretical knowledge.

Richard teaches all adult musicians: professional, college, pre-college and enthusiasts:

GUITARISTS, VOCALISTS, BASS, WOODWINDS, BRASS, STRINGS

COMPOSERS, ARRANGERS

He is fluent in Portuguese and conversational in Spanish, French and Japanese.

MUSICIANS usually have multiple interests they wish to explore in the same lesson. 

For example:

ESSENTIAL SKILLS: improvisation, ear training, theory, notational skills (sightreading, transcribing)

STYLISTIC GENRES: Jazz, Brazilian or Classical music: repertoire expansion & memorization

COMPOSITION, ARRANGING

All lessons are enhanced with musical handouts, scores, recordings, practice exercises with audio files, video links, etc. 

For optimum continuity and ability to delve deeply into the musical material, 
LESSONS and LESSON BLOCKS are scheduled every two weeks on the same day and time. 

Musicians who are visiting from abroad or outside the New York City area for a finite period of time can arrange special study intensives where lessons are scheduled with greater frequency (ex. weekly or multiple sessions in a week).

Prior to the first meeting, Richard requests background input from the student(s) by e-mail, identifying their short and longterm creative goals, stylistic interests and self-assessed skill levels in different musical disciplines. 

Materials are then carefully selected so that the first lesson is a substantive, focused session with a high degree of specificity and individualized attention.

Richard is very proactive in maintaining contact with students between lessons by e-mail

This additional contact between sessions promotes essential continuity and forms a dynamic mentoring relationship. Such contact includes answering lesson-related questions, reviewing assigned work, sending digital print, audio and video links as supplementary materials.
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IN-PERSON Lessons are TWO HOURS

ONLINE Lessons via ZOOM can be 
TWO HOURS or NINETY MINUTES.


BOOK a

ONE-HOUR TRIAL LESSON 
 

PREPAID LESSON BLOCKS:

EIGHT HOURS (FOUR TWO-HOUR LESSONS) 

DISCOUNTED at 11.5% 

MORE INFORMATION and TERMS for LESSON BLOCK STUDY
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LESSON DOCUMENTATION and MATERIALS

IN-PERSON lessons, the student may record the lesson as a voice memo.

ONLINE LESSONS are video recorded on ZOOM and available to the student.

To archive any digital materials (PDF handouts, audio files),

Richard sets up a private Google Drive folder for the student. 


IMPORTANT NOTE: 

All lesson recordings, private lesson digital files and Google Drive links are for the exclusive use by the individual student ONLY, and are NOT for public distribution or dissemination.


PAYMENT 

is processed mainly by Venmo (@Richard-Boukas) within the U.S.
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INTERNATIONAL STUDENTS

For international online payments, some transaction fees may apply. 
This cost is added to lessons fees.

For more information, current RATES and to schedule a REMOTE LESSON:

E MAIL RICHARD

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SEMI-PRIVATE and GROUP LESSONS
can be arranged for TWO and up to SEVERAL participants. Rates vary accordingly.

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MAKE-A-MASTERCLASS

Do you have a group of fellow musicians interested in the same musical topics?

You can coordinate your own MASTERCLASS with Richard via ZOOM. 
Participants can live anywhere in the world!

The more musicians who enroll, the per-student fee is reduced.

For more details:

E MAIL RICHARD
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TOPICS for PRIVATE STUDY

Below are some main topics for private, duo and small group study.

Students may combine two or more areas of interest into one two-hour session.
These areas can be addressed along separate tracks and also integrated together if the context is appropriate. For example, a guitarist may want to work on Brazilian comping styles, Ear Training, and Sightreading in the same lesson.
 

    Brazilian Guitar

• Arranging Brazilian Standards for Solo Guitar
• Adapting Brazilian Solo Piano Music for one or two guitars
• Brazilian Guitar Duo Workshop
• Solo Brazilian Guitar Masters: From Garôto to Guinga
• Composing for Solo Brazilian Guitar
• Brazilian Guitar Comping based on Authentic Percussion Sourcerhythms
• Right-hand independence exercises

    other Guitar Styles and Skills

• Jazz Guitar improvisation, comping and solo styles
• Full Accompaniment in Duo playing
• Fingerstyle Jazz Guitar:
  single line soloing and solo guitar arranging
• Principles of Fingerboard Harmony and Voiceleading
• Sightreading for the Contemporary Guitarist: all styles

    Brazilian Repertoire and Interpretation

• Choro Performance Practice: repertoire of master composers
• Specialized Choro instruments: 7-string, cavaquinho, bandolim (mandolin)
• Brazilian Jazz Workshop: Improv 
• The Northeast: 
baião, forró, frêvo, xôte, maracatu

    Brazilian Vocal

• MPB (Popular Brazilian Music) Workshop:
  Jobim, Chico Buarque, Djavan, Guinga, Sérgio Santos
• Survey of Brazilian Vocalist Styles
• Portuguese Diction, phrasing, lyric interpretation,
vocal timbre and technique
• Scat-Singing Improv in Brazilian Genres

     other Vocal

• Jazz Scat-Singing:
Techniques, Classic Solos and Transcriptions
• Interpreting the American Songbook
• Arranging and writing charts for small ensemble
• Sightsinging for the Contemporary Vocalist (non-solfeggio)

    Brazilian Repertoire and Composition

• Composing for small jazz ensemble, chamber ensembles
• Insights into Boukas's Compositional Process
• Hermeto Pascoal and his "Árvore" (tree) of composers:
  Jovino Santos Neto, Itiberê Zwarg, André Marques
• Hermeto Pascoal's Universal Music:
  Analysis, Harmonic Concepts, Chord Symbol Notation

• Hermeto Pascoal and his "Árvore" (tree) of composers:
  Jovino Santos Neto, Itiberê Zwarg, André Marques

• Music from Minas Gerais:
  Toninho Horta, Sérgio Santos, Milton Nascimento
• Guinga, intuitive genius, guitar-as-laboratory

    other Composition

• Compositional Techniques Across Stylistic Disciplines
• Finding Your Compositional Voice
• Contrapuntal Writing: Classical and Contemporary
• Richard Boukas compositions as models for study

    Essential Musicianship

• Instrumental and Vocal Jazz Improvisation:
    Principles of Linear Construction, learning from Transcriptions
• Solo Transcribing and Dictation Skills
• Repertoire Development: Working on and Memorizing Tunes
• Ear Training Practicing Techniques
• Constructive Listening: What to listen for in music
• Jazz and Contemporary Music Theory and Harmony
• Fast-Track Sightreading and Sightsinging

Live Solo: Tristeza / 200 por hora

Hudson Jazzworks Composer Series