Jaron Gregory Deming
Adaptive, flexible, and fluent in the whole language of music.
Jaron Deming is a flutist and educator based in the Upstate of South Carolina. He is the founder of Exceed Academy of Music, a school specializing in focused instruction for advanced students pursuing careers in music, serves as Adjunct Professor of Music at Anderson University, where he teaches written and aural music theory, and is principal flute of the Anderson Symphony Orchestra.
An active performer across the region, his recent seasons have included Mahler's First Symphony and Holst's The Planets with the Anderson Symphony, appearances with the Piedmont Wind Symphony, and pit orchestras for The Prince of Egypt and The Wizard of Oz.
Jaron holds a Master of Music in Performance from the University of North Carolina School of the Arts, where he studied with Dr. Tadeu Coelho, served multiple terms as principal flute of the UNCSA Symphony Orchestra, and was a finalist in the 2022 UNCSA Concerto Competition. He earned his Bachelor of Music Education, magna cum laude, from Anderson University under the instruction of Leah Wilson, where he won the Anderson Symphony Orchestra Concerto and Aria Competition and received the university's Outstanding Music Education Major Award.
A native of Greenville, South Carolina, Jaron has taught privately for over a decade, with students placing in county, region, and state honor bands. Away from the flute, he enjoys spending his free time with his wife, flutist Kayla Deming, and his daughter, Juliette.
Educating the whole musician.
Four principles guide every lesson — from the ten-year-old just starting to the college-prep senior. The instrument is the vehicle. Musicianship is the destination.
Self-sufficient practice.
You leave with tools for the week. The lesson is a rehearsal for how you'll work on your own — not a place where progress happens only in my presence. The goal is a student who can teach themselves what I'm not there to teach them.
Musical interpretation.
Beyond correct notes — reading the phrase, shaping the line, choosing what to say. Notes are the alphabet, not the sentence. The work is figuring out what you mean and then getting the horn to say it.
Historical & theoretical context.
Understanding why the music is what it is — the era it came from, the composer's intent, the harmony under the phrase — deepens how you play it. Theory isn't a separate class. It's the reason the phrase wants to breathe the way it does.
Practical performance.
Recitals, competitions, auditions — real stages, coached preparation. Confidence comes from having done the work in the room where it counts. Every student in this studio plays for other people from the very beginning.