Carroll Music Lessons

ra Symphony, and for recording sound stages in Hollywood and Burbank California, among others. Daren's solo, chamber music and orchestral performance engagements have been heard in the continental United States, Canada, Caribbean, Italy, Germany, and Portugal.

Daren's past appearances include soloist with the Opera Theater of Lucca with performances in Lucca and Florence, Italy, co-principal viola at the Heidelberg Festival, Heidelberg, Germany, section violist for the Grand Teton Music Festival under music director Eiji Oue, Wyoming, among others. In the past Daren has toured with A.R. Rahman, Indian composer of Bombay Dreams and Slumdog Millionaire in Dallas, Houston, San Francisco, and Vancouver, B.C. Daren has performed with Rod Stewart, Don Henley, Harry Connick Jr., Mannheim Steamroller, recorded with the Phillip Fox band in Columbus, OH, the Blessed Union of Souls and Cari Clara in Cincinnati and has performed and recoded with KD Lang for "Mountain Stage" a syndicated NPR program, recorded and filmed an episode of HBO's Curb Your Enthusiasm.

Daren earned his bachelors degree from the Eastman School of Music and his masters degree from the College - Conservatory of Music, University of Cincinnati. His previous professors include violists Martha Katz, James Dunham, George Graham, Masao Kawasaki, Catherine Carroll, Lucien Joel, and Alicia Tremmel.

Daren currently serves as Director of Operations and Artistic Administration for the Los Angeles Chamber Orchestra. Formerly, Daren served as sold Performance Manager and Orchestra Personnel Manager for the Columbus Symphony Orchestra and as Artistic and Orchestra Operations Manager for the Cincinnati Chamber Orchestra.

*** Lesson Details ***
Lessons with Daren take on a life and pace as necessary and are specific to each student. All students learn at different paces and I cater to each student's needs and learning ability. I have taught students as early as first grade thru 80 years old. I am easy going, fun natured but expect my students to maintain a minimum practice regimen. Typically I use a combination of Suzuki Method Materials (if applicable), technique books, music theory and note reading, and scales.

*** Travel Equipment ***
Instrument, Music stand, sheet music

*** Specialties ***
Suzuki Methods and Traditional Methods

ic with others and seeing their joy from being able play for themselves.

*** Lesson Details ***

14 years experience

2 optional recitals per year (Spring and Christmas)

Ages 4 through adult

passion for music extends from intense listening to creative expression. He is ready to share his Love of the Performing Arts with his next students.

started.

or Emeritus and world-renowned pianist George Haddad, I performed the first movement of Shostakovich's Second Piano Concerto with the chamber orchestra.

I performed different self-composed pieces at seven OSU Composers' Workshops and won the Audience Favorite Award at the Johnstone Woodwinds Composition Competition in 2012. My Senior Composition Recital was performed on October 25, 2012. It showcased several of my three-movement works: string quartet, clarinet solo, set of classical songs for piano and voice, set of pop songs for piano and voice. Interspersed with these were two solo piano pieces and a duet for piano and violin.

My background makes me a knowledgeable and effective tutor. I was valedictorian at Delaware Hayes High School in 2009 and received OSU's Maximus Scholarship based on my ACT and SAT scores.

e from the obvious enjoyment one gets out of playing beautiful music, working at a skill week after week helps children build confidence and grow in all areas of life. I coach my students to take pride in their accomplishments, to exude an air of assurance and poise when sitting at the piano, and to become self-directed learners.

MY TEACHING PHILOSOPHY:
One of the wonderful (and obvious) benefits of private instruction is that each student's unique abilities and shortcomings can be brought into clear focus and addressed. I am highly skilled at encouraging students through a careful balance of praise and constructive criticism. I make sure they are aware of (and take pride in) their strengths so that when challenging moments arise, they are motivated to do the work.

I maintain high expectations for my students, constantly reminding them that it's the quality (not the quantity) of their playing that counts. It is much more important to me that a student learns to play one piece well rather than ten pieces poorly. There is no race to the finish line. I believe in taking however much time is necessary to help a child understand a concept—we might spend the majority of a lesson on it if we have to. Learning must be done at the child's own speed. Children benefit enormously from having 100% of my attention during lessons; they will never need to try and "catch up" with other students.

METHOD:
Most method books for young students focus on teaching the child to read notes on a page, and as one can only learn to read music so fast, children are therefore stuck playing songs that keep the hands rooted on or around Middle C. There are so many problems with this method, least of all the fact that it's quite boring. A bigger issue is the lack of focus on technique and playing. Children are naturally musical--they love to sing and dance. Playing piano should be no different. Children can be taught songs using no music at all; rather, they can learn simple melodies by identifying patterns on the piano. This helps train their ear AND frees the child up to focus on technique rather than scrutinizing the notes on the page. My students get to use the entire keyboard almost right away (both black keys and white keys) rather than being crowded around Middle C.

Another issue with the Middle C position is that it creates an awkward twisting inward of the wrists, which breeds tension. The first thing students should learn is how to play with relaxed wrists, not tense ones!! This is one of the building blocks of good piano technique. Keeping kids rooted around Middle C for the first six months of their piano education does not set them up for good technique.

Now, all of this is not to say that I don't teach children to read music--I do. Absolutely! I introduce intervals and guide notes as soon as possible. I think the intervallic approach is super useful, especially when dealing with children who are coached from a young age to look for patterns. Alongside reading music, though, it is important to teach songs that are only for playing.

For beginning students, I like to use the Piano Safari method. These books offer a wonderful blend of rote pieces (for playing, not reading) and reading pieces that use the intervallic approach. These pieces are fun and engaging--some parents complain about how their children won't stop practicing them! Here is a sampling book of other books and materials I may use:

Beginning Students: Tales of a Musical Journey Books 1 + 2, Piano Safari Books 1 + 2, Carl Czerny's The Little Pianist, Bastien Piano Literature Book 1, Royal Conservatory Series Preparatory Books A & B and Book 1

Intermediate Students: Piano Safari Book 3, Bastien Piano Literature Books 2-4, Royal Conservatory Series Books 2-6

Advanced Students: Bastien Piano Literature Books 5-6, Early Advanced Classics to Moderns, Royal Conservatory Series Books 7-10

It's so important to me. As a striving musician, successes and failures have only deepened my passion and taught me the importance of knowing myself as an artist. I love helping others believe in themselves and release what's truly inside them."

She is very diverse and able to do all kinds of genres. She is also a producer and is passionate about music arrangement, song writing and recording. She currently runs RunSong Studios.

What to Expect as a Student:

* Train to hear the note, tune tone, sing on key 

* Learn to create and control runs and ad libs

* Find the perfect harmonies automatically 

* Strengthen diaphragm and learn to breathe correctly 

* Learn to sing with emotion and let the true individual shine through

* Push the limits with the right exercises and free the voice to truly soar 

* Be empowered and encouraged as a singer and a raw artist, whether this is a hobby or an epic dream

I recommend children's session be no shorter than an hour. 30 minutes goes by very quickly and children's classes are more about building confidence as well as skill which takes a bit longer.