Voice Lessons in Carrollton, MD

Instruments: Piano Guitar Voice Drums Bass Guitar Synthesizer Accordion Harmonica Lap Steel Guitar Banjo Ukulele Mandolin Mallet Percussion Orchestral Percussion

Hello! My name is Donovan, and I am an instructor who specializes in ear training and technique. Originally being a self-taught musician, I began with piano and harmonica, then eventually branched out to guitar, bass, banjo, among several others. I have ran sound equipment from an early age as well, learning how to set rigs for full bands and how to mix and master tracks for recording purposes. I have met and played with many famous and unfamous musicians, and find that the highest amount of talent is undiscovered and uncultivated. Read More

Instruments: Piano Voice

My specialties/Genres Taught are classical, music theater/Broadway, Jazz, traditional folk songs, church music, Disney. Nothing is more rewarding than seeing one of my students develop a passion for music! Therefore, it's important that each student progresses at his or her own pace. I encourage this by setting realistic goals for my students at each lesson. Acknowledging accomplishments helps fuel a students desire to progress, and makes students eager to learn more. Read More

Instruments: Voice

I am a passionate and motivated instructor that enjoys MUSIC. sharing my love for music is one of the best gifts i have ever come across, as i believe that it is truly a universal language, They say French is the language of love, however i believe MUSIC is, who doesn't love music? I have spent most of my life in the music field, from performing with choirs to solo work, it has allowed me to travel all across the country and to be apart of so many different projects, the best part is was able to work with numerous individuals like myself. Read More

Instruments: Piano Guitar Voice Saxophone Bass Guitar Organ Music Keyboard

Recently I was hired as piano instructor for Quartertonez Music, in Washington DC. Also, I have had experience teaching and studying music education under my high school mentor, renowned music teacher Tim Savage; I was his student-teacher for a semester course at St. Lawrence University. Additionally, throughout my experience as his music student, his teaching approach has infused music education and facilitation lessons within the musical instruction itself. My past teaching experience also includes being a Drill Instructor for the Italian Department at Vassar College for two years during my time as an undergrad (I not only "ran drills" for students who had already started learning the material, but also had to compensate in a variety of ways for the unsuccessful, dysfunctional, or half-hearted engagement that is typical in a foreign language class). Read More

Instruments: Piano Voice

For piano, I like the Piano Adventures Method by Faber but have also used Alfred and Bastien. I am very focused on a relaxed and precise technique, including proper rotation, articulation, flexibility, and strength, as well as teaching the ability to play without looking at the keys. For voice, I work to build a solid technique based on individual need and interest and choose songs accordingly. Proper breathing and body awareness, utilizing Alexander and Feldenkrais methods, as well as understanding of vowel and consonant articulation and of the intimate relationship between text and music is also essential. Read More

Instruments: Piano Voice Violin Viola Music Keyboard

On strings I teach a modified Suzuki method, supplementing pieces of a student-requested style at technical benchmarks. Again, connection to music is critical and one of the ways to gain that is through personal involvement in lesson directions. For children, I teach piano from the Bastien method, whereas adults go with Alfred's All-In-One Course. Voice students will gain foundation through classical training and branch into other styles as they are ready. Read More

Instruments: Guitar Voice

Aestethics or "beauty" of the voice is subjective. In this method we favor the voice health. The ability to sing without fatigue. The confidence that we can trust in our instrument. The result of this work is after all a "beautiful" sound. And it will sound beautiful for every listener. "The acoustical result of a healthy sound is a beautiful sound. And we will agree in any culture that its beautiful because its an instinct aesthetic." (Eugene Rabine) The method itself comprehends 4 parts: 1) a theory about the functional system (how the instrument works) 2) a theory about the sensomotorial system (how one person learns a sensomotorial activity) And based on those 2 theories: 3) a specific Pedagogy 4) a specific Didactic I don't want to get too "technical" in this section, you're free to ask me if you have further questions about these aspect. Read More