FAQs
- What should the customer know about your pricing (e.g., discounts, fees)?
$200 a month - weekly 30 minutes $250 a moth - weekly 45 minutes $300 - weekly 60 minutes
- What education and/or training do you have that relates to your work?
Cuban violinist Yalira Machado performs regularly as a soloist, chamber musician, and orchestral musician across the United States. At an early age, Yalira, was awarded top prizes in the Amadeo Roldan State and National Violin Competition, celebrated in Havana in 1994, 1996, and 2002. Formerly concertmaster of Havana’s Youth Symphony Orchestra and Gran Teatro de la Habana Symphony Orchestra, she was also a member of the Yucatan Symphony Orchestra and the Universidad Autonoma de Nuevo Leon Symphony Orchestra, both in Mexico. As a member of Camerata Romeu from 2004 to 2007, she took part in several recordings, including “Raigal,” “Tampa-Habana-Oslo,” “Non-Divisi,” and with the well-known guitarist and composer Egberto Gismonti, “Saudaçoes.” Since her arrival in the United States in 2012, Ms. Machado had taken part in the recording of the CD “Improbable Encounters” with music by Joseph Klein. She has held section violin position with the Corpus Christi Symphony Orchestra, Canton Symphony Orchestra, and Springfield Symphony Orchestra. She had also held principal positions. She was Associate Concertmaster with the Midland- Odessa Symphony and Choral, Principal Second Violin with the Lima Symphony Orchestra and Guest Concertmaster with the Ashland Symphony Orchestra. Currently, she performs regularly with the Baltimore Chamber Orchestra and has been appointed Acting Concertmaster for the 2018-2019 season with the Tyson McLean Symphony Orchestra. A devoted teacher, Ms. Machado had taught at Paulita Conception Conservatory in Havana, Cuba, and Jose Jacinto Cuevas Music Center, in Yucatan, Mexico. She has also served on the faculty of Esperanza Azteca Monterrey Symphony Orchestra, the Mexican equivalent of “El Sistema”. In the United States she have taught in many music schools in Houston, Dallas, and Cleveland. Her students have been members of the Gran Teatro de la Habana Symphony Orchestra, Lyceum Mozartiano de la Habana Orchestra, and the Cleveland Youth Contemporary Orchestra. Recently moved to the Baltimore/Washington D.C. area, she is rapidly growing her own private studio. A fervient advocator for the power of classical music inside the community, Ms. Machado is the Founder, President, and CEO of Project Utopia Insitute, a non-profit organization which mission is to promote diversity in classical music by creating programs that will develop the musicians and audiences of tomorrow. Ms. Machado holds a Bachelors Degree in Violin Performance from the Instituto Superior de Arte in Havana, a Master in Music from the University of North Texas, and a Professional Studies Diploma from the Cleveland Institute of Music. Among her teachers are Maria Verdecia, Augusto Diago, Gary Levinson, Nathan Olson, William Preucil and Joan Kwuon. Teaching Philosophy There is a few type of students: those who are very talented and would learn from whomever is teaching them, those who have average potential but love to play and practice, those who have potential, lack a positive attitude, and play violin because it is their parents desire, and finally, those who do not have either potential or positive attitude but the parents want them to play the instrument. I embrace all type of students because I believe playing an instrument and being part of an ensemble is one of the best experiences children can have, and most important playing an instrument give the individual abilities that would be useful for the rest of their life. I believe in being very direct about the level of playing in lessons. While being in the United States I have had teachers who after I played, either very good or very bad, they say “It’s great” followed by a “but”. I believe the word “Great” should not be along with “But”. I have learn that by criticizing the students work with a real positive comment, but maybe not a compliment, can help them improve immensely. A compliment in the right moment is very helpful, however, not necessarily have to be connected to the students playing, but it can be about the shirt they are wearing or their nice attitude. Students come to lesson to learn, and I hope they are expecting a teacher who wants to teach them and to care about them. I believe students understand and are appreciative of their teacher being tough. I also believe that my job is not just to teach new concepts, strokes, ideas, etc, but to teach the student the art of practicing. I take time in the lesson to practice with them. I like to be sure they understand and know how to embrace the assignments I gave them when practicing by themselves. I also find important to write detailed assignments. I believe that rhythm and musicality is related to movement and singing. Although all students can’t sing well and are shy when they are asked to move, I encourage them to try it, even if I have to look like a clown while doing a certain movement with them. Music is movement! Finally, I believe that technique is the key for students to feel confident about their playing. When a student feels they are acquiring skills, they are most likely to realize they like to play. Weather playing violin is their idea or their parents, the sensation that they can do it and they are improving is what will keep them moving forward.