Christopher Se.-

Christopher Se. received his Bachelor of Music in Music Performance with a Minor in Voice from the Shenandoah Shenandoah Conservatory of Music in Winchester, Virginia in 1997 where he studied with Dr. Kenneth Sarch and Dr. Marc Ramirez. Chris followed that up with his Master of Music Pedagogy from the Shenandoah Conservatory of Music in 2010, studying with Roanoke Symphony concertmaster Akemi Takayama and studying chamber music with members of the acclaimed and prolifically recorded Audubon String Quartet. In addition to his formal education, Chris also attended the Suzuki Institute in 1998 for teacher training, and also was on the bluegrass faculty for Common Ground on the Hill’s bluegrass camp (sponsored by the DC Bluegrass Union) in 2008.

An accomplished performer widely recognized in his field, Chris has been a member of the award-winning bluegrass band Nothin’ Fancy since 1998. Nothin’ Fancy has grown into a national/international touring force, and are the four-times running Bluegrass Entertainers of the Year SPBGMA (Society for the Preservation of Bluegrass Music Association) award winners for 2008, 2009, 2010, and 2012. All told, Nothin’ Fancy has been nominated individually or as a group for no fewer than 33 SPGBMA, IBMA, and GMA Dove Awards. At festivals, Chris is not only seen on stage but also giving fiddle workshops that specifically aim to improve the techniques of the budding fiddle players.

Chris has been honored to perform and work with many of the best and brightest in bluegrass, classical and chamber music as well as contemporary rock and popular music, including Rhonda Vincent & The Rage, Gene Watson, Marty Raybon, the Seldom Scene, John Cowan, Sam Bush, Patty Loveless, Bret Michaels, Sebastian, the Manassas Ballet Theater, the Loudoun Symphony Orchestra, the Roanoke Symphony, the Maryland Symphony, and many others. As a part-time sideman with country musicians Wil Gravatt and Kevin Mac, Chris has had the honor to perform as an opening act for country legends John Michael Montgomery and Travis Tritt, and the new country act known as The Band Perry.

As of January 2013, Chris will begin a new adventure as a new adjunct professor of violin and viola at the Northern Virginia Community College's (NVCC) Woodbridge campus. As part of the assignment, Chris will be utilizing the studio as his primary office and will most likely be giving lessons there due to current space constraints at the Woodbridge campus. Chris is honored to be selected as a new member of the NVCC faculty, and is also happy to be part of the expansion and diversification of the Woodbridge campus' course offerings!

It should be the goal of every teacher to not only teach relevant material, but to keep the student’s interest. Relevant teaching material does not have to be boring; it can be fun and engaging if presented properly, and there will always be an available explanation as to what each piece of study has to offer a student.

Teachers and students ought to agree to what purpose the lessons will serve from the onset. Students should know their schedules and recognize that learning an instrument takes time and commitment. The expectations of both student and teacher should take any time constraints and other obligations into account when considering the goals to be achieved and the time it will take to achieve them.

Students should be ready to learn anew! Whether as a novice or an advanced player, no one knows everything – not even the teacher. Students are welcome to their opinions; however, it is the purpose of lessons to open up the possibilities of new techniques that may help improve technical and musical abilities. Lessons are also the opportunity to share information as a two-way exchange; a good teacher is also a good student willing to take in new approaches to the instrument. After all, studying an instrument is an ongoing quest.

Playing a musical instrument is a physical activity. It is important for a student to learn how to play without the potential for future injury. Accordingly, a student must recognize the inherent worth of good playing habits that help keep muscles, tendons, and joints relatively free from tension. A player with a relaxed technique plays with more energy and endurance and will enjoy playing for many years to come. It’ll be more fun for you, too! Nervousness makes us tense, too, so there will also be some discussion of how to alleviate things like “stage fright” and other anxieties that are common to musicians and performers.