Studio & Philosophy

I grew up in a house where everyone played music, and I could not wait to start. I remember begging my parents and being told I had to wait until I was at least four years old to finally take piano lessons. Music was the best gift my family could have ever given me. The best and most rewarding experiences of my life have come through playing, learning, and building musical relationships. I have been teaching for almost twenty years, privately, in ensembles, and in masterclasses. Why take music lessons? They are not just useful to people aiming to perform professionally in an orchestra or chamber ensemble. There is a vast amount of self-discovery involved- one’s creativity, learning styles, problem-solving, work ethic, goal-setting, responding to feedback, and thinking analytically. As a teacher, I want my students to develop their own personal strengths and learn to listen, collaborate, and discover their own voices through music.

The whole purpose of music is human connection and expression. The musical phrasing and emotional content should always be the first priority for every artist. However, technical mastery is necessary to communicate one’s musical ideas effectively. I remember years of frustration, having a clear picture in my head of the sound that I wanted to produce, and just not being able to make it physically come out of my instrument. The technique is integral and gives us the tools to achieve musical expression.

As a performer and teacher, I do not follow a single methodology or approach. I strongly believe that something can be learned from every musical school, genre, and system, both technically and artistically. My teachers have all come from different schools of cello playing, and I gained distinct skills and lessons from each of them. Every method I’ve learned can be used at different times depending on context and musical goals, and so it is important for every student to expand their arsenal of musical styles. After graduating, I have continued to take lessons with other teachers to keep developing my technique, as mastery of an instrument is an ongoing endeavor. As a lifelong learner, I want to impart this attitude to my students.

Regarding technique, the student’s personal needs come first, which can change as they continue to grow. These needs could be any combination of physical, mental, or emotional. Every student starts from a different place and has different strengths and areas to address. As someone who used to play sports, I look at athletes and use very similar philosophies, routines, and plans. Every student is given exercises, music theory, etudes, and pieces. I choose the amount and type of repertoire based on level and interest. I always discuss goals with students to make sure that the plans we make align with both their personal ambitions and my targets for them. I am always trying to create a learning environment based on collaboration and mutual respect, and tailor my lesson plans to the individual.

It is essential to create a comfortable environment where a student can experiment creatively, and feel empowered to be themself and express their own musical voice. I also want to sensitively push students to reach their full potential and get the most out of their lessons and the music they are studying.

Teaching more effective practice methods is a huge part of my work. I am always striving to find new and more interesting ways to problem solve. What works for one student will not necessarily work for everyone, which requires constant experimentation. Breaking things apart and intensifying focus on smaller aspects are among my favorite methods of learning. I often use the physical example of isolating the right hand from the left, and the mental example of singing a phrase to hone expression and mental imagery away from the instrument.

I feel strongly that organization is one of our greatest tools for learning artistry. The most effective and rewarding way to practice is with intention, and I spend a lot of time discussing strategies with students. I will write out “to-do lists,” and practice plans for them, and empower them to later create their own. This process can be applied to any field outside of music.

Ensemble coaching has many similarities but offers opportunities for growth in collaboration. There is a distinct intentional listening involved in chamber playing. Different challenges arise through rhythm, collective pulse, intonation, and phrasing. The students are challenged not only to learn the music but also to meet the needs of other people in the ensemble. Ensemble playing also tests communication skills, both verbal and nonverbal, which is a difficult and exciting thing to teach.

Performance is a fundamental part of musical growth, and I provide both formal and informal opportunities to gain experience. Most importantly, this creates a goal, fosters a sense of accomplishment, and can grow confidence and self-awareness. I collaborate with students to choose repertoire that is both standard Western classical and underrepresented works, bringing considerable value to our lessons and performances.

The world is also changing, and we as musicians can adapt to meet the challenges and needs of our communities. My job is to equip students with the skills that extend beyond music. I did not attend a conservatory, and I understand a few of the difficulties many young people face today. Music lessons should first provide a distraction, a retreat, and a safe haven for everyone. Outside of lessons, students can be more prepared for school, work, and their personal lives with patience, resilience, and critical thinking. As a teacher, I aim to create a studio filled with genuine love for music and technical mastery that fosters independence and continues to serve students throughout their lives.