Are you looking for weekly music lessons with a teacher who can bring out the very best in you?
Are you looking for a teacher who takes care to understand the way that you think and operate?
Are you looking for music education that goes far beyond  theory and instrumental technique?
Then you might be looking for

Holistic Music Lessons
The Conscious Music School

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Most music teachers focus on external manifest technique: how you move your fingers, hands, and arms, and if you're a wind player, your breath. At best, when teaching the non-physical aspects of music, most teachers lump these subjects together as 'mind studies', never taking the time to acknowledge and investigate the many layers of the musician's psyche: the soul and its inspiration, the auric field and its capacity to communicate, the higher mind and its intent, the intellect with its many calculations, the perceptions with their capacity to expand and contract in focus, as well as shut each other out, the emotions and the enormous effect they have on both our thinking and moving, and finally, our instincts, where much of the true technique of musicianship should, finally, reside.

My teaching method first examines each of these aspects as a distinct discipline, before combining them into a co-operative and synergistic whole. Studying with these methods, my students often completely sidestep the common music students' problems of concretized bad habits, plateaus in the learning curves, dips in study and performance concentration, and emotional sabotage from the subconscious. If, as is the case with most intuitive and self development students, you are already conversant with these gradations of the psyche and their functions, you'll find that my teaching style naturally 'speaks your language', and takes full advantage of your developed thinking, feeling and perceiving skills. If you are as yet unfamiliar with the studies,you'll find my structured and gradual approach to these subjects opens up a new understanding of yourself, as a human and as a musician, and will benefit you in many areas of life besides music.

Yes, I do still teach from the piano. Yes, I will expect you to have at least a decent keyboard and to learn keyboard skills at whatever level suits you. But this is only one facet of my teaching. For one thing, the vast majority of the skills that I teach can be transferred to the playing of other instruments. If you are already a student or a master of another instrument, we can treat the keyboard element as a second study and focus more on your already extant instrumental skills. But all of these considerations centre on the manifest side of music making, which is only one facet in itself, and one that many people could teach you. But before music can manifest through an instrument, it must have its origins in the numinous realm of imagination, feeling, and intent. This subject is the true core of my teaching. After many years of studying psychology, and subtle energy dynamics, and mind mapping, and hypnotherapy, and shadow work, and magical practice, I have formed a teaching model for musicians that integrates all these studies into a full spectrum training, to initiate the ensouled human being into the art and practice of conscious, enlightened, shamanic music making, to educate a musician worthy of the respect of the conscious civilization that's in it's birth-pangs right now.

To be a competent musician is to have more of your mind, body, emotions and soul joined up in a synergy than most people will experience in their lifetimes. Too many teachers pay little attention to this fact. Through my years of integrating my side studies into my teaching, it's become possible for me to have an instinct when a technical matter is actually an emotional matter. Through my many years of integrating my side studies into my teaching practice I have learned that many musicians' technical issues are not issues of the fingers nor the mind: sometimes they are emotional issues, sometimes they are perceptional issues, sometimes they are truly issues of the will and intent. Through tackling these issues with my students, I have come to see patterns in the way that they present amongst people. Seeing these patterns have allowed me to form a teaching method that develops all of these aspects: the soul-connection, the will, the mind, the perceptions, the emotions, the body, the field, develops them all, as cooperating elements, from the outset. To the neurotypical student, this approach can bring benefits in terms of speed of learning, and surety of performing, but, to the individuals of high imagination or high emotion or high perception and intution, this approach can be the difference between crawling down the road of progress, and soaring.
I want my students to be decent human beings, and I want them to be able to broadcast the energy of that through their music. My teaching pratices reflect that.

We live in a time of greatly accelerated change, signalled by the shift in aeons, from Pisces to Aquarius. During such periods, which occur roughly every 2000 years, the fundamental attitudes, perceptions and thought modes of whole civilizations shift radically. Some modes of thought go extinct. Others change beyond recognition. Yet others spring from seemingly nowhere. Music and the arts in general are not only not immune to this process; they are the canary in the coal mine, the harbinger of what is to come. In a time such as this we can see that the forms of art that had relevancy and vitality to us before have now lost their efficacy. It is becoming obvious that the whole world of the arts is in the throes of a crisis of meaning, and without meaning art loses its fundamental reason for existence. At best it becomes a commoditized product. At worst it becomes an instrument of evil, feigning meaning while functioning only as a capitalist venture, or even worse as a subconscious societal control method prompted by governments and three letter agencies.
To be innocent or ignorant of these issues as an artist in the 21st century is to guarantee your own irrelevance. In an attempt to make a rational response to these circumstances, my teaching method examines each of the psychic functions of music as separate core elements to be re-examined and reframed in the light of new attitudes, and attempts to enlighten the student as to their own soul's intentions regarding their involvement with music at this time, and the archetypal forces they may be aiding or opposing.

Being an experimentalist and an iconoclast myself, I am not in the business of training my students into the rigid mind-tunnels of certain schools of aesthetics. While I have plenty of experience teaching classical, jazz, rock and pop and many more niche styles, my passion is in teaching musicians to acknowledge and uncover the roots of what it is they are trying to communicate, to discover the aesthetics that serve that intention best, and to consciously build from that foundation.

At the core of my teaching is the knowledge that music is a potent magical force for change on a personal and societal level. To ignore this fact is to play with fire and psychically endanger both yourself and your audience. Every conscious artist must make this choice for themselves, and I have made my choice: with the exception of children too young to make such considerations, I choose to teach only those who have conscious and loving intentions towards their audiences, and who wish to learn how to broadcast those vibrations. In the effort and sacrifice it takes to achieve, true artistry takes on shades of alchemy - not least in its unflinching examination and improvement of the self. These efforts are challenging for the best of us, but as a polite warning to narcissists looking to simply make big bucks or improve their black-magic artistry through my techniques: some of my methods will put those with no soul through experiencial hell, and they will leave the ordeal none the wiser. They have been warned.