Christopher Morrow
My Musical Journey
My mother took me to the doctor's office when I was six because my teacher noticed some behavioral challenges in the classroom. As it turned out, I was one of the first to be diagnosed with Attention Deficit Disorder (ADD). To help me focus, I began taking piano lessons with the talented local church organist and pianist Shirley Tayler of Cadillac, Michigan. Though I continued with her until I was 12, I inevitably took a break from piano lessons and music. My teacher and mother were very supportive and encouraging, but I struggled to understand how music was fun. It wasn't until later in life that I understood how piano lessons helped lay the foundation of my personal growth.
After two years of no musical progress, I decided to try the trumpet in the middle and high school marching band. Thankfully my mother and band teacher Dave Buckley continued to support and encourage me to keep practicing. I remember making up melodies in the style of a marching band, and the desire to write them down, but nothing came of that desire yet. Two more years went on, and everything was about to change.
Shane Rozeveld was a high school classmate and the percussionist in the marching band. He seemed like just another marching band member until I heard him play the electric guitar. The sound was unique, powerful, and raw, as if a fire was coming from his guitar amp. I had never heard anything like this before, and I was intrigued and wanted to learn more. He invited me to his garage in the freezing winter to meet the drummer Josh Warner, and there I heard the sound of guitar and drums, and it was LOUD. I was handed a bass guitar and told to "play this four times, then this, and back to this." Um, it sure seemed simple enough. We counted ourselves in, "1 2 3 4," and off we went. It was magic, and I was in awe. It was deafening, and my heart was pounding; my fingers were freezing, but the music was fun, and I was more focused than ever. Even though we played a simple chord profession for a couple of minutes, it was enough to change my perspective on music and the possibilities of what I could achieve.
Fast forward to my 16th birthday, and my classmate Mike Mains asked me to audition for his band. I had never prepared an audition before, but I could tell this would be more serious and require more focus. There was a recording of original material that I needed to learn only by ear. I listened to each track many times and practiced with it until I felt secure with my ability to play along with the recording. I didn't know it at the time, but that was precisely the training my ears needed: focused ear-training, an essential skill for any musician.
Being in the band was fun and challenging work. Every week we prepared 30-45 minutes of music by memory while creating new material and practicing at least two hours a day. I remember watching the pianist Tia Cain practice and thinking, "Hey, I can do that!"
I began falling down the rabbit hole of piano playing at Central Michigan University. I found myself at the piano practice rooms for 6-8 hours a day, and it was all I wanted to do; it was the only place I knew I needed to be. It was part of the essential training I needed for the next part of my musical journey.
Once the band and I went separate ways, I began focusing on my desire to create and explore digital composition. It was only a brief but essential moment, leading me to study music at Colombia College in Chicago. So I moved to Chicago to study with some of my most influential teachers.
There were incredibly talented students in music school, and I was inspired to practice more than ever. However, my first teacher Sebastian Huydts, as impressive as he was, wasn't the right fit for me, so I studied with his colleague Bette Coulson. Bette was patient and supportive in a way that worked for both of us. The feeling to prove my worth was strong; I remember wanting to show my teachers that I belonged there and could find a career in piano. So I decided to find a way to make music my job before I graduate.
At this time, I found Ricos Music and Art Center, a tiny little community music program that opened its doors to me and anyone interested in music lessons. I found my musical home, and I was a natural teacher. The childhood memories of being in my mother's classroom, watching her teaching, gave me confidence that I didn't know I had. When I wasn't teaching, I would offer trial piano lessons to anyone interested. I quickly became one of the busiest teachers there. Things were great for a while, but eventually, I thought it could be better.
In 2013 it was time to move on from Ricos and start my studio, Topher Allan Music. Even after leaving Ricos, my students followed my vision of my music studio, and some of that original group are still with me today. The studio opened within the Chicago Ballet Center, as I was still looking for my own space. Finally, three years later, I found the perfect location at 4018 N Milwaukee. This studio had the right price and an extra room which allowed for growth potential, and Topher Allan Music moved again.
After another break from college due to financial hardship, I finally had some stability. It was time for me to enroll at Northeastern Illinois University and finish my degree. I scheduled an audition with Dr. Susan Tang, and she accepted me into their music program. Studying at NEIU allowed me to take my time and share some of the fantastic opportunities with my students.
Currently, I am a Suzuki Certified Teacher, the 2nd vice president of North Shore Music Teachers Association, teaching more than 70 students at my private studio. Now my focus is building a strong music foundation in each of my students, so that they too can enjoy the benefits of developing their own music journey. After 10 years of experience and over 500 private students, I have learned what works and what doesn't not work as teacher.
My Musical Journey
My mother took me to the doctor's office when I was six because my teacher noticed some behavioral challenges in the classroom. As it turned out, I was one of the first to be diagnosed with Attention Deficit Disorder (ADD). To help me focus, I began taking piano lessons with the talented local church organist and pianist Shirley Tayler of Cadillac, Michigan. Though I continued with her until I was 12, I inevitably took a break from piano lessons and music. My teacher and mother were very supportive and encouraging, but I struggled to understand how music was fun. It wasn't until later in life that I understood how piano lessons helped lay the foundation of my personal growth.
After two years of no musical progress, I decided to try the trumpet in the middle and high school marching band. Thankfully my mother and band teacher Dave Buckley continued to support and encourage me to keep practicing. I remember making up melodies in the style of a marching band, and the desire to write them down, but nothing came of that desire yet. Two more years went on, and everything was about to change.
Shane Rozeveld was a high school classmate and the percussionist in the marching band. He seemed like just another marching band member until I heard him play the electric guitar. The sound was unique, powerful, and raw, as if a fire was coming from his guitar amp. I had never heard anything like this before, and I was intrigued and wanted to learn more. He invited me to his garage in the freezing winter to meet the drummer Josh Warner, and there I heard the sound of guitar and drums, and it was LOUD. I was handed a bass guitar and told to "play this four times, then this, and back to this." Um, it sure seemed simple enough. We counted ourselves in, "1 2 3 4," and off we went. It was magic, and I was in awe. It was deafening, and my heart was pounding; my fingers were freezing, but the music was fun, and I was more focused than ever. Even though we played a simple chord profession for a couple of minutes, it was enough to change my perspective on music and the possibilities of what I could achieve.
Fast forward to my 16th birthday, and my classmate Mike Mains asked me to audition for his band. I had never prepared an audition before, but I could tell this would be more serious and require more focus. There was a recording of original material that I needed to learn only by ear. I listened to each track many times and practiced with it until I felt secure with my ability to play along with the recording. I didn't know it at the time, but that was precisely the training my ears needed: focused ear-training, an essential skill for any musician.
Being in the band was fun and challenging work. Every week we prepared 30-45 minutes of music by memory while creating new material and practicing at least two hours a day. I remember watching the pianist Tia Cain practice and thinking, "Hey, I can do that!"
I began falling down the rabbit hole of piano playing at Central Michigan University. I found myself at the piano practice rooms for 6-8 hours a day, and it was all I wanted to do; it was the only place I knew I needed to be. It was part of the essential training I needed for the next part of my musical journey.
Once the band and I went separate ways, I began focusing on my desire to create and explore digital composition. It was only a brief but essential moment, leading me to study music at Colombia College in Chicago. So I moved to Chicago to study with some of my most influential teachers.
There were incredibly talented students in music school, and I was inspired to practice more than ever. However, my first teacher Sebastian Huydts, as impressive as he was, wasn't the right fit for me, so I studied with his colleague Bette Coulson. Bette was patient and supportive in a way that worked for both of us. The feeling to prove my worth was strong; I remember wanting to show my teachers that I belonged there and could find a career in piano. So I decided to find a way to make music my job before I graduate.
At this time, I found Ricos Music and Art Center, a tiny little community music program that opened its doors to me and anyone interested in music lessons. I found my musical home, and I was a natural teacher. The childhood memories of being in my mother's classroom, watching her teaching, gave me confidence that I didn't know I had. When I wasn't teaching, I would offer trial piano lessons to anyone interested. I quickly became one of the busiest teachers there. Things were great for a while, but eventually, I thought it could be better.
In 2013 it was time to move on from Ricos and start my studio, Topher Allan Music. Even after leaving Ricos, my students followed my vision of my music studio, and some of that original group are still with me today. The studio opened within the Chicago Ballet Center, as I was still looking for my own space. Finally, three years later, I found the perfect location at 4018 N Milwaukee. This studio had the right price and an extra room which allowed for growth potential, and Topher Allan Music moved again.
After another break from college due to financial hardship, I finally had some stability. It was time for me to enroll at Northeastern Illinois University and finish my degree. I scheduled an audition with Dr. Susan Tang, and she accepted me into their music program. Studying at NEIU allowed me to take my time and share some of the fantastic opportunities with my students.
Currently, I am a Suzuki Certified Teacher, the 2nd vice president of North Shore Music Teachers Association, teaching more than 70 students at my private studio. Now my focus is building a strong music foundation in each of my students, so that they too can enjoy the benefits of developing their own music journey. After 10 years of experience and over 500 private students, I have learned what works and what doesn't not work as teacher.
