Teaching

Sharon has been a dedicated teacher of flute for over 40 years. She incorporates the incomparable teaching of her mentors, Thomas Nyfenger, Julius Baker, and Geoffrey Gilbert, and blends this with her own experience, knowledge, and passion to bring out the greatest potential in every student. Besides pursuing excellence, her teaching motto reflects these four words: focus, discipline, approachable, and fun.

Sharon’s past university students have gone on to win positions in the Memphis Symphony Orchestra, the U.S. Navy Band, and have attended many prestigious graduate schools.

Coaching

Since the release of her book 6 Weeks to Finals in 2016, Sharon is a sought-after coach for flutists and instrumentalists all over the country to prepare for audition-taking of any kind. Her “triathlon” approach has been a game changer for students and young professionals hoping to achieve success in a very competitive environment. She reserves time to coach all instrumentalists either in-person or on zoom who are looking to enhance the skills their private teacher provides them with, and is often consulted when an important audition, recital or competition is upcoming.

Sharon’s coaching clients have gone on to win positions in the Omaha Symphony, the Virginia Symphony, the Victoria Symphony in British Columbia, the Memphis Symphony, the Detroit Symphony Orchestra, and the Seattle Symphony, and have won numerous competitions and awards.

What beloved and renowned orchestral flutist and teacher Walfrid Kujala's review said:

“Whether you’re a newbie or a pro, Sharon Sparrow’s “6 Weeks to Finals” is an absolute essential resource. She leaves no stone unturned in her thorough examination of the auditioning process. The heart of Sparrow’s book is the elaborately detailed six-week plan in which she covers all the technical, psychological, and musical steps leading up to audition day. It’s a very rigorous and demanding program, but it is realistic. I’m almost tempted to go through the process myself as if I were planning an audition to get my old job back! Sparrow’s book can and should be used by all orchestral musicians.”

Read this 5-star Amazon review:

★★★★★ A guide to audition success that all musicians should read!!

September 19, 2019 Verified Purchase

“Sharon Sparrow has written an excellent audition preparation guide for musicians. I believe this book to be helpful for college students trying to win their first jobs as well as already-established professionals trying to get to that next level. While I am no longer trying to win auditions, I am implementing her suggestions in my practicing and am so glad I have!”

-Christine Davis
Principal Flute, Buffalo Philharmonic Orchestra

some of the recent places sharon has given a seminar on 6 Weeks to Finals

Boston University, Peabody Conservatory, University of Texas at Austin, Tulane University, Eastern Michigan University, Interlochen Academy of the Arts, Louisiana State University, Boston Conservatory, Michigan State University, National Flute Association Convention, Southeast Michigan Flute Association Festival, Louisiana Flute Festival, and more

Volumes 1 and 2 available for purchase now!

What started as a project to help our students understand Telemann’s 12 Fantasies for Solo Flute in a deeper way both rhythmically and harmonically as flute duets quickly turned into concert pieces of their own—full of energy, wit and bravura! Jeff Zook and I had so much fun creating them, and we are delighted in the fact that we can share them with the entire flute community.

As reviewed in The Flutist Quarterly…

“This charming and delightful arrangement of the first six Telemann Fantasies for two flutes is a wonderful addition to any flutist’s library. The duets beautifully balance Telemann’s original work while enhancing their potential by being set as two-part inventions by arrangers Sharon Sparrow and Jeffery Zook. The original Fantasia is transposed between both the first and second flute parts, with additional harmonic, rhythmic, and textural support provided in the non-melodic line. Inventive countermelodies provide both simplicity and context, adding a layer of depth which even Telemann would approve. The use of complimentary rhythms, hemiolas and rhythmic dissonance provides an exciting experience for anyone who knows these pieces by heart. The addition of dynamics and tasteful, limited ornamentation options also helps provide contextual options for the developing student. The addition of original manuscript for Fantasia 6 is also a nice reference for the student.”