About Jules Career Instrumental Teacher and Performer and
Developer of "The Orósz Technique"
2005 Michel DeBost ( Oberlin Conservatory Faculty ) Master Class
2002 William Bennett (International Flute Soloist, Recording Artist, Master Teacher )
Master class
1996 Walfrid Kujala ( Principal Flutist Chicago Symphony and Faculty at
Northwestern University ) Master Class
1994 Bernard Goldberg ( Principal Flutist Pittsburg Symphony ) Master Class
1989 - 1993 Donald MacDonald (Professor of Flute Emeritus Crane School of Music )
Private study
1992 Emanuel Ax ( Concert Pianist ) Master Class at Tanglewood
1990 Peter Lloyd ( Principal Flutist London Symphony ) Master Class Royal
Conservatory Toronto, Canada
1988 Julius Baker ( Principal Flutist New York Philharmonic Orchestra and
Faculty at Julliard School of Music ) Master Class
1986 - 1989 Richard Sherman ( Principal Flutist Rochester Philharmonic and Faculty
Eastman School of Music ) Private study
1983 - 1986 Independent study
1983 Robert Aitken ( Principal Flutist Toronto Symphony and Soloist ) Master Class
1981 - 1982 John Thomas ( Faculty Eastman School of Music ) Private study
1982 Reinhardt Goebel ( Internationally known Baroque Violinist ) Master class
1980 Jean Pierre Rampal ( Soloist ) Master Class
1980 - 1981 Stanley Hasty ( Faculty Eastman School of Music ) Private study
1977 - 1980 Dr. Stanley Gaulke ( Clarinet Rochester Philharmonic Orchestra ) Private study
1977 Michael Webster ( Principal Clarinet Rochester Philharmonic Orchestra)
Master Class
1977 - 1978 Leigh Howard Stevens ( Internationally known Concert Marimbaist ) Private study
PERFORMING EXPERIENCE and POSITIONS
FLUTE :
2006 Featured soloist at the Crane School of Music for the Donald MacDonald
Memorial Scholarship concert
1994 - 2007 Faculty for various Community Music Programs
1994 - 2007 Recitalist at various Colleges
2004 - 2006 Principal Flute in Baroque Performing Ensemble
2003 Soloist with various String Quartets
1995 - 1998 Founding Member of area Flute Association
1986 - 1994 Concert Master and Principal Flute for various Concert Bands
1990 - 1991 Concert Master and Principal Flute with Music Educator's Wind Bands
1989 - 1990 Founder of The Albion Woodwind Quintet
1986 - 1988 Performed in recitals given by the advanced students of Richard Sherman
Eastman School of Music
CLARINET :
1980 Selected to be an honorary performer for the Stanley Hasty 25th Anniversary
National Master Class held at the Eastman School of Music
1978 - 1980 Brahms Clarinet Trio performed with Lynn Richmond ( principal cellist
Rochester Philharmonic Orchestra ) Frances Robertson ( Pianist )
Performed various degree candidacy recitals
1976 - 1977 Performed in Master Classes of Michael Webster ( Principal Clarinet with
Rochester Philharmonic Orchestra )
PERCUSSION :
1976 - 1977 Percussion and Soloist with the Syracuse Youth Symphony Hello Fellow Instrumentalist ! Welcome to my web site ! As a career Instrumental teacher from age 6 through adult, My finger training program course is specifically designed to achieve I'm after a technique that doesn't have, what I call, "Blurbs". You They Never Do ! We may not notice them after a while but you can bet that the We ALL want to play our scales in 16th notes at MM quarter note = 120 After all, the speed has to fit the melody line. What about inching up the metronome up to 132 or 144 for the You simply will never do it without knowing "your" finger skills MagicMusicianFingers is my answer to creating a method and if By working on your finger control "Away From Your Instrument", All your brain's thinking goes to fingers and not to note reading plus This concentrated effort really moves your technique up Notch You'll see the results daily as you practice fingers alone for only, Here is where you will be blown away ! You no longer will have to think about your fingers. Now you Your brain and fingers will have fused a strong pathway so that Total freedom to explore just how good you can perform My method opens the doors, unties the hands ( or better yet, You'll have more fun and get more enjoyment, whether you are Good Luck ! Sincerely, Jules
1971 - 1975 Honorary performer with the United States Navy Band
Conductor and performer with Marching Band
Performer with Wind Ensembles
EDUCATION
1980 - 1981 Eastman School of Music - Graduate Study Music Performance
1977 - 1980 Bachelor of Music Performance
1975 - 1977 Associate of Music Performance
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High School to College level and beyond, I want to share
with you some of my observations and findings about
improving one's physical skills and technique on almost
any instrument.
Here is a little of my philosophy that led me to develop
"The Orósz Technique" during my over 30 years as a music
teacher.
rapid, accurate and controlled finger technique. Not the more common and
impetuous kind that is uneven and irregular with your fingers
flailing all over the place but rather the smooth, professional,
fast fingering that is light in touch, evenly distributed and perfectly
"In Sync".
know, those unwanted "in between" notes that occur by accident
when one finger is placed slightly before another finger that is
supposed to place at the same time. We've all experience them
but most of the time we are much too forgiving of ourselves so
we choose to ignore them thinking that they will go away on their
own.
listener is hearing those annoying extras that don't belong in that
beautiful melody line.
just to be able to perform some of the most beautiful music out there.
more difficult pieces ? And what about going even faster to
achieve virtuosic status at MM quarter note = 160 ?
and problem intervals on your instrument plus a method of
correcting all of the flaws.
followed diligently, WILL enable you to achieve your goals.
you will allow your brain to Fully concentrate on the task at hand.
rhythm plus articulation plus musical style and of course,
expression and interpretation.
after Notch after Notch ! My method works to burn a strong
pathway from your brain to your fingers, gives the fingers
strength, total independence, lightness of touch and speeds you
never thought you could achieve.
but at least, 20 minutes and then pick up an Etude and sightread
on your instrument.
will be able to put your full concentration into improving your
sight reading abilities and expressing yourself through your
favorite repertoire.
little or no concentration has to be directed their way.
is now yours to enjoy !
your fingers ) so that you can shine .
practicing or performing.