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Since August 2025
Instructor since August 2025
Violin and theory classes for all aspiring musicians!
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From 65.83 C$ /h
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Music is a beautiful thing that today can be anything from a brief escape from reality, to a passion, to a hobby to enjoy. I help people learn about all types of music, and aid them in forging their own relationship with it. Experienced in many different genres and styles, I seek to expand people's musical views and show them that regardless of who you are, where you're from and what you do, music can be whatever you want it to be for you, and it's my job to help you figure out what that is and find what your passion in music is.
Extra information
Bring your own instrument and any music you want to learn
Location
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At teacher's location :
  • Schaefer Street, Brooklyn, NY, USA
  • Theresa Lang Student Center, West h Street, New York, NY, USA
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Online from United States
About Me
I'm an easygoing and flexible teacher, have experience in many different violin teaching methods from Suzuki, classical, to jazz and modern music. I believe every person requires a unique teaching style, as no to people are motivated by the same things and relate the same way to music, I strive to adapt to what my students wish to learn and teach it in the way that is most beneficial for them.
Education
Musica Creativa (2021 - 2023)
The New School Music of Jazz (2023 - present)
Studied classical music from 5 - 16 with Arman Simonyan, well-renowned classical virtuoso
Studied under Tomas Potiron in Musica Creativa (Madrid) for 2 years, world renowned classical and modern (pop, rock, tango) violinist
Currently apprenticed to Alex Hargreaves, a virtuoso bluegrass and jazz violinist
Experience / Qualifications
Have been performing classical music in orchestras since the age of 5
Performed solo gigs of pop/rock music in establishments
Have been performing a large variety of jazz since the age of 16 (bebop, hardbop, afro-cuban, free jazz etc...)
Age
Preschool children (4-6 years old)
Children (7-12 years old)
Teenagers (13-17 years old)
Adults (18-64 years old)
Seniors (65+ years old)
Student level
Beginner
Intermediate
Advanced
Duration
30 minutes
45 minutes
60 minutes
90 minutes
120 minutes
The class is taught in
English
Spanish
French
Italian
Skills
Musical styles:
Classical
Contemporary
Fiddle
Jazz
Pop
Rock
Playing techniques:
Bowing techniques
Scales & arpeggios
Vibrato
Intonation
Availability of a typical week
(GMT -05:00)
New York
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At teacher's location and via webcam
Mon
Tue
Wed
Thu
Fri
Sat
Sun
00-04
04-08
08-12
12-16
16-20
20-24
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Nathan
As a teacher, I always try to focus on what the student is passionate about, while keeping in mind their weaknesses or aversions. When I was a student, the most profound growth I experienced was when I was fully engaged in the act of music making. I want to guide my students along a path to fall in love with music, whatever form that may come in. I know this will be much more valuable than any technique or song I could ever teach them. While I know this is the goal, I am also aware that this won’t happen with every student. Often this process happens further down the line. In those cases I just want them to get the most they can out of music, and enjoy the process of growing as a musician and a person.

It is very important to me to teach music to a diverse community of students. This is how I grew up learning music, and it truly is a way of bringing communities together. It has also been my privilege as a teacher to serve many underprivileged communities (as a part of Oakland Summer music, and Oakland Public Conservatory), as I believe everyone deserves access to quality music education.

In my private or group lessons, I like to first gauge the students’ listening habits and any music they are listening to. In my experience with younger students, many of them have yet to start listening to music on their own. I try to provide them a space to just listen to music. This way we can work on their technique through music they already enjoy. I will often have them learn songs by ear while also working on some fundamentals such as scales or tonging. We would also work on whatever weaknesses the student may have in their own public music programs or in their other music making. Often that is reading, ear training, or general lack of knowledge. I am always happy to work on these things in a patient but challenging manner. While improvement is the goal, I know first hand that failure is an important and essential part of the learning process.
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Similar classes
arrow icon previousarrow icon next
verified badge
Nathan
As a teacher, I always try to focus on what the student is passionate about, while keeping in mind their weaknesses or aversions. When I was a student, the most profound growth I experienced was when I was fully engaged in the act of music making. I want to guide my students along a path to fall in love with music, whatever form that may come in. I know this will be much more valuable than any technique or song I could ever teach them. While I know this is the goal, I am also aware that this won’t happen with every student. Often this process happens further down the line. In those cases I just want them to get the most they can out of music, and enjoy the process of growing as a musician and a person.

It is very important to me to teach music to a diverse community of students. This is how I grew up learning music, and it truly is a way of bringing communities together. It has also been my privilege as a teacher to serve many underprivileged communities (as a part of Oakland Summer music, and Oakland Public Conservatory), as I believe everyone deserves access to quality music education.

In my private or group lessons, I like to first gauge the students’ listening habits and any music they are listening to. In my experience with younger students, many of them have yet to start listening to music on their own. I try to provide them a space to just listen to music. This way we can work on their technique through music they already enjoy. I will often have them learn songs by ear while also working on some fundamentals such as scales or tonging. We would also work on whatever weaknesses the student may have in their own public music programs or in their other music making. Often that is reading, ear training, or general lack of knowledge. I am always happy to work on these things in a patient but challenging manner. While improvement is the goal, I know first hand that failure is an important and essential part of the learning process.
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