Jarrettsville Music Lessons

areas of their lives as a result. I aim to inspire every student to find their way to a rewarding life through music.

*** Lesson Details ***
My lesson plans are developed on an individual basis. I want you to learn the music that inspires your passion. If the guitar is new to you, the first lessons are devoted to basic playing skills and techniques. It is important to develop a strong understanding of music fundamentals to ensure that the student is attaining the skills they need to be a complete musician. I emphasize technique with drills designed to raise my students' skills evenly across a wide range of categories, like picking, fretting, scale patterns, chord shapes, rhythm training, and ear training. I have had success with many students using this approach and most are playing songs within a couple months. For the more serious student, music theory is an important tool to understand songwriting and music in general. I am always open to discuss what we do during a lesson. I believe it is my job to balance what you want to do with what you need to do in order to succeed.

*** Travel Equipment ***
I have amps, guitars, 1/4 inch cables, tuners, metronomes, paper and pens.
Would like students to have all these things but can accommodate based on need.

*** Specialties ***
Rock, Pop, Blues, Country, flat-picking, finger-style

derstand that every student is a little bit different. Every student has different strengths and weaknesses. Every student has a different learning style. Every student has a different way of understanding things, a different way of processing information, and a different personality all together. It will be my job as a teacher to get to know each student individually and use my teaching methods to teach the student how to play the violin and help him or her to reach his or her goals.

*** Lesson Details ***
I am a laid-back person. I am easy-going, enthusiastic about violin playing and about teaching and learning music, and I am very patient with my students as well. However, I am also very demanding. I explain and demonstrate objectives in a very precise way, and I demand a lot of detailed work from my students, inside and outside the lesson. I explain specifically what I want the student to do. By the end of every lesson, the student will have specific things to work on for next time. I expect each student to make practicing a habit, and practice regularly what has been discussed in the lesson. I try to make the lessons as pleasant and as laid-back as possible. But I become more firm, serious, and strict when a student either is not making an effort or does not practice enough outside the lesson.
I start students off with the Suzuki method. We work on techniques to hold the violin properly, hold the bow properly, and get a decent sound out of the violin, without too much physical tension. A student begins by learning to play by ear. After he or she is comfortable playing by ear, we associate the notes that the student hears and plays on the violin with written notes on a page.
We also work with the Paul Roland methods so that the student can learn the violin in a basic, rudimentary way. It involves a lot of repetitive patterns, back and forth motions that are slow and round, and avoiding excessive tension. This will give the student the tools that he or she needs to learn how to play the violin in a short period of time.
In three to six months, a student who is a beginner will be able to hold the violin and bow comfortably, create a decent sound on the violin, and play the Twinkle Variations, and maybe a few other songs.
If the student has played violin before, then in three to six months, he or she will have had some rehabilitation to get rid of tension and force, overcome some bad habits he or she may have developed, and review the fundamentals of violin playing. I will improve the student's approach to the violin, and by the end of the three to six months, he or she will have a better idea on how to practice and play the violin.

*** Studio Equipment ***
Piano, seating for parents in the living room,

*** Travel Equipment ***
I will provide a stand.
I will expect the student to have a violin, rosin, and a pencil.

*** Specialties ***
Suzuki Method- a starting point, particularly for kids, but for people of all ages. It is a good way to begin learning the violin by playing by ear, developing a strong, clear tone, and bringing out one's individuality through his/her musical development and his/her ability to be expressive.

In a matter of time, I want the student to get used to reading music, in addition to playing by ear. This can be done through the pieces in the Suzuki method or through other music.

Eventually, I take the student off of the Suzuki method and work with him or her on classical repertoire.

ate notes on the piano in relation to middle C

2) Being able to recognize notes on the staffs and play them in the correct locations on the piano

3) Scale theory- understanding how scales are constructed and being able to play at least 2 octaves of all 12 major scales with both hands at the same time

4) Chord theory- understanding how triads and eventually seventh chords are constructed

5) Sight reading- there is a "trick" to this, if you will, a way to go about approaching tunes that I've found makes them easier to digest

6) And for those interested, we can give the lessons a more Jazz-oriented approach (lessons would then more heavily emphasize scale and chord theory, syncopation, and learning Jazz standards)

Remember, we are all students. Instrument teachers, instructors, coaches (whatever you want to call them) do not represent an end to the learning process, but rather a continuation of it. We're all trying to improve, develop our craft, build up our chops, practice new and uncomfortable things, and expand upon our abilities of what we can do. I have heard from Jazz pianists in their 80s say that they are still learning, still trying to get better. I think that's an important thing to keep in mind as you begin this journey. The journey never ends, it just extends and continues. You'll never run out of new things to learn. The only thing you can strive for is to be the most competent you can be at your instrument. Your playing ability at any point along this journey is only a mere reflection of who you are at this moment in time. So make this moment the most meaningful it can be. The journey begins here.

*** Studio Equipment ***
Full Sized, Fully Weighted Electronic Keyboard in living room
Comfortable sitting area in waiting room for parents

*** Specialties ***
music, piano, jazz piano
Jazz

ven though I'm a professional singer myself, I believe that the point should always be to enjoy singing, and whether your goal is to make money as a singer or to feel more confident doing karaoke (both real things that have brought students to me!), I want you to have fun doing it. I also want to show you that singing is a skill, and anyone can learn to do it.

*Note about my apartment: I teach lessons in my home, and I have a pet kitten. She's extremely friendly and would love nothing more than to bask in your attention, but if you'd prefer not to be around her or you are allergic, it's no problem at all. I'm happy to make sure she's kept in a different room during your lesson. All you have to do is let me know before your lesson that you'd prefer not to be around her, and you won't see her at all.

h the Canton and Firelands Symphonies, and appeared as a guest principal with the Canton Symphony for their March 2018 Masterworks Concert. During her studies at the Oberlin Conservatory of Music, she was principal of the Oberlin Orchestra, and performed in the orchestra at Chicago Symphony Center as a part of their 150th-Anniversary tour. At Oberlin, Amanda appeared frequently as an ensemble-member for faculty concerto recordings. She has appeared in the Schikele Bassoon Concerto and the Augusta Reed Thomas Bassoon Concerto released on the Oberlin and Naxos labels on the album Full Moon in the City. She has also appeared in recordings of the Carter Flute Concerto and the Trigos Guitar Concerto No. 1 (forthcoming releases). In addition to her orchestral opportunities at Oberlin, Amanda has attended the Pierre Monteux School and Festival, the Miami Summer Music Festival, and the Bach Institute at Emmanuel Music.
To supplement her love for performing, Amanda has also been active in the field of Arts Administration. Co-founder of the Oberlin Flute Association, Amanda spent two years bringing prominent flute artists to Oberlin. This included advertising in the Cleveland area, managing a strict budget, and organizing all details of the artists’ visits. She also worked at the Oberlin Concert Productions office as assistant director and program editor, and was administrative assistant with Oberlin Conservatory Summer Programs. She is currently a staff member in the Peabody Career Services office, providing professional development support for students at Peabody.
She has recently graduated from Oberlin College and Conservatory, where she received a Bachelor of Music in flute performance and a Bachelor of Arts in biology as a part of the college’s double-degree program. She is currently pursuing a Master of Music at the Peabody Conservatory, under the guidance of Marina Piccinini.

med local organizations. I have also been featured as a woodwind clinician in Baltimore County and Howard County public schools classrooms and have been the oboe adjudicator for the middle and high school division of the Howard County Solo & Ensembles for the past three years.

I graduated from the Peabody Conservatory of the Johns Hopkins University with a Masters in Oboe Performance in 2016. I additionally hold a Bachelor’s Degree in Music Performance as well as a Teaching Certificate from the Peabody Conservatory. During my time at Peabody, I studied under Jane Marvine, English Horn of the Baltimore Symphony Orchestra.

While studying at Peabody, my passion for music education was ignited and I really enjoyed exploring the development of my skills and resources both as a classroom and studio teacher. It is my personal mission to enrich students through music education while still having fun and learning to apply skills learned in music to other areas of life.

I am currently the Operations Manager with the Baltimore Symphony Orchestra. Previously, I have held administrative positions with cultural organizations such as the Baltimore Choral Arts Society and the New York Philharmonic. I have been on both sides of the music industry and classroom, so I know what it takes to become a professional musician, and take a nuanced pedagogical approach to help each student achieve their goals in a way that suits them individually - no two students are the same! I believe each student should have a strong fundamental layer in technique and understanding of music theory, but should also focus on having fun while playing music, otherwise, what is the point?

Outside of oboe I enjoy hiking with my dog, painting, yoga, and Cuban food.

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teens, and special needs adults and children.

ute, and voice lessons at the Umoja Music School. Danielle received her Master's Degree from the Harvard Graduate School of Education "Arts in Education" program and a Bachelor's Degree in Music Composition from Vanderbilt University.