Background

Kirk Miller was born in Denver, Colorado. Winning his first competition at the age of four, Kirk debuted as the featured soloist at the Dillon Lake Amphitheater.

After continuing to perform and featured in the Summit Daily newspaper multiple times, Kirk Miller studied with Stacey Patzer until being accepted as a student under Harold Wippler at the age of thirteen. After being accepted as one of Harold Wippler's students, Kirk's real training began as he worked towards the final goal to become a concert soloist. Kirk quickly realized that Harold Wippler's reputation was well deserved as Mr. Wippler ignited Kirk's passion and drove Kirk to master the most difficult of the violin repertoire. At the age of 18, Kirk Miller auditioned at multiple colleges and was granted a full tuition scholarship everywhere he auditioned. This included schools such as The Lamont School of Music where Kirk would have studied with James Mauer. Although he had many opportunities to study with extremely notable teachers, Kirk felt that letting go of his current teacher, Harold Wippler, would be a terrible mistake.

Choosing to turn down his scholarships in the interest of staying with the only teacher to have multiple students win international competitions, Kirk was able to learn every major piece under an undisputed violin master. Seventeen years after beginning his studies with Harold Wippler, Kirk Miller now continues his personal studies for a different reason: to pass on the knowledge and techniques he was taught to his current students.

Kirk Miller has performed as a featured soloist performing the following works:

• Mozart Concerto # 4
• Mozart Concerto # 5
• Mendelssohn Violin Concerto in e minor
• Wieniawski Violin Concerto #2 in d minor
• Lalo Symphonie Espagnole, Op. 21
• Brahms Violin Concerto
• Bruch Violin Concerto #1 in g minor
• Bach a minor Violin Concerto
• Bach E Major Violin Concerto
• Bach Double
• Sarasate Zigeunerweisen, Op. 20
• Paganini Violin Concerto #1
• Sarasate Carmen Fantasy
• Vivaldi Four Seasons
• Beethoven Spring Sonata
• Camille Saint Saens Introduction and Rondo Capriccioso, Op. 28

Kirk Miller utilizes a multitude of teaching methods to create his own methodology that is centered around Harold Wippler's techniques. Suzuki books are used up to Book #4 along with supplementary works and etudes that Kirk Miller has personally designed. After Suzuki Book #4, Kirk analyzes the student and continues with a piece appropriate to push the student forward in both technique and musicality. Pieces are accompanied by etude books, scales, sight-reading and other complimentary solo pieces.

As for instruments, Kirk Miller is well versed and willing to help any student find an instrument. Please do not spend a large amount on any instrument without consultation as choosing an instrument is as specialized as performing on one. To contact Kirk Miller in regards to lessons, please email him at kirkmiller@mbmelodies.com.

Kirk's Expectations

For Beginning Students:

• Starting players need only trust my guidance. For young starters, respect for me but especially for your parents is required.
• 30 minutes of practice a day. I can only teach, but you must take the credit and responsibility for your growth as a player.
• The same commitment to your studies as I give as your teacher.
• Have fun, work hard and surprise me. It isn't always easy, but keeping your goals can earn you special rewards.
• Understand that give you my word about being fair and just when it comes to my method of teaching.
• Total commitment. I myself played sports, hold a second degree black belt in Tae Kwon Do, practiced weight training(still do), but always gave a strong commitment and dedication to music and practicing. Even the Samurai of ancient times took time to practice painting and music. That means you can too.

For Parents:

• Young starters, aged 2 to 15, will need total devotion from their parents. It is hard work to keep your children on track, but goals and requirements are something they have to learn somewhere. I will try to make it as easy as possible through my own motivational methods, but things like listening to classical music, making time to sit down and help them with their practice and making it a priority is a large part of a child's success.

For Intermediate Students:

• I expect 45 minutes to one hour of not only practice, but perfect practice. This is something each student will master over time and can make practice seem faster, more fun, and much more will be accomplished.
• With greater work comes greater rewards, this is something that will be clearly understood by the intermediate student.
• Listen to your parents. Life will be much easier when it is realized that parents mean the best. Get your chores and practicing done and spend the time you would have spent arguing doing something you want.
• Trust me. You can tell me if you're tired of a piece, if you hate something, or even tell me that you feel I'm being unfair. I treat every student, even younger ones as adults. It is important for learning and for life that you stand up for yourself in a respectful manner.
• Intermediate students should be able to practice on their own and will be playing something along the difficulty of the first Sietz Concerto.

For Advanced Students:

• A minimum of one hour of perfect practice time.
• Clear goals set between the two of us.
• By this point, lessons will sometimes surprise you as I begin to push your limits. Know when to tell me I'm pushing too hard. When you are worried about your lesson, call me, there is always something to learn and I will always respect your words. At this place and time, my goal is to let you realize for yourself the talent you have, not to push you away from having a good time.
• Decide if you want to compete.
• Advanced students will be playing at minimum a Mozart Concerto, Kreutzer etudes, a flashy show piece and a Sonata. At this point, this much material will not seem overwhelming and as always, just talk to me. I am your mentor at this point as much as a teacher. Your practice and dedication will decide the directions you take.

For Parents of Advanced Students:

• Continued nourishment is all that is needed. The students at this level already know how to practice and how much to practice, but it is sometimes hard and they will need to lean on you for support and understanding.

For Competing Students:

• You've chosen a fun path, but this will demand more. 1.5 hours practice every day is a minimum goal. This doesn't have to be done in one sitting.
• Perfect practice has become like breathing.
• Memorization will become standard with every piece.
• Preparing a professional recital, given just by you to friends, families and fans. This will include one Concerto, one Sonata (usually Mozart or Beethoven), and a single solo piece. Each recital program will depend on the individual student.
• Have fun, you've reached a point that very few have achieved.
• Be very proud.
• Thank your parents.
• Competition students will be playing a Mozart Concerto, along with a romantic piece such as Mendelssohn, Bruch, or more challenging. Etudes(Kreutzer, Dont or Paganini) a flashy show piece(Zigeunerweisen by Sarasate for example), and a sonata(Mozart, Beethoven, or harder.) This is very high level playing, reached by only a select few, but it is possible for any and all with the right attitude, patience, and stubborn will to succeed.

The violin is one of the most stunning of all instruments. Although incredibly awkward, it can be learned and loved by anyone at any age. I have played the violin for over twenty five years now and believe that only four things are needed to master the instrument: willpower, heart, dedication, and willingness to seek help.